CNN tried something different last week. It wasn’t a ratings blockbuster. It wasn’t a reinvention of the wheel. But it was a step — and in an industry that’s grown far too comfortable with its own reflection, that matters.
Jake Tapper hosted an episode of The Lead from his personal office. No gleaming studio. No polished set dressing. Just a host, his workspace covered in memorabilia from losing presidential campaigns, some temporary lights, and a camera.
Meanwhile, Anderson Cooper went a different direction — large microphones front and center, sleeves rolled up, no suit coat in sight. It had the feel of a podcast you’d actually want to listen to.
Both presentations raised eyebrows. Both also raised something more valuable: a conversation.
I’ve championed this kind of approach before. The YouTube and podcast generations haven’t just grown up alongside informal presentation styles — they’ve come to prefer them. Authenticity is the expectation, not a buzzword to those viewers. When a host sits across from a microphone in a relaxed setting, there’s an intimacy that a traditional anchor desk simply can’t replicate.
Cable news hasn’t always been quick to recognize that. The suits, the sets, the carefully lit backdrops — they signal authority, sure. They also signal distance. As more viewers migrate toward creators who look and sound like real people, the pressure on legacy outlets to adapt only grows. CNN’s experiment, however modest, acknowledges that pressure exists.
Now, let’s be honest. Will these new presentation styles trigger a ratings surge? Probably not. Viewers don’t flock back to a network because a host ditched his blazer. The problems facing CNN — and cable news broadly — run much deeper than set design. Trust, relevance, and the relentless competition from digital platforms aren’t fixed with a couple of microphones and a casual Friday vibe.
But that’s not really the point. The point is that CNN admitted it needs to try something different. That admission is harder than it sounds. Networks develop an institutional inertia that’s tough to shake. Formats calcify. Habits become gospel. Taking even a small step outside that comfort zone requires someone, somewhere in the building, to say “let’s see what happens.” That’s worth something.
CNN Global Affairs Analyst Karim Sadjadpour believes the nature of the war in Iran has changed for the U.S. "I think this began as a war of choice for President Trump and it's morphed into a war of necessity," he says. pic.twitter.com/KLpecWvoXz
Yes, the mockery came quickly. Social media had its fun — and look, some of it was fair. The execution wasn’t flawless. Cooper’s setup drew comparisons ranging from a true crime podcast to a late-night radio show, and not always charitably. Tapper’s office backdrop prompted questions that had nothing to do with the news he was covering.
Here’s the thing, though. Ridicule is the price of experimentation. Almost everything that eventually works looked awkward before it didn’t. The first time a network anchor threw to a correspondent on a shaky satellite feed, it probably looked amateurish. Now it’s standard. The first time a cable news show integrated social media, it was clunky. Now it’s expected.
I’ll give CNN credit for not letting the fear of mockery stop the experiment before it started. That spirit — the willingness to absorb some heat in pursuit of something better — is exactly what this industry needs more of. Denigrating it doesn’t serve anyone well.
When content becomes the focal point rather than presentation, viewers win. That’s the underlying truth here. A great interview conducted in a home office is more valuable than a mediocre one conducted in a $10 million studio. Stripping away the visual noise can actually force that content to carry more weight. It can work. It has worked elsewhere.
CNN’s got a long road ahead. One casual episode of The Lead and one podcast-style Cooper segment don’t rewrite the network’s trajectory. But they’re a start — and sometimes, taking that first step is the most difficult part of the journey. Give them a chance to find their footing before you demand they run.
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.
There’s nothing new about former athletes entering the digital content space post-career. The practice has been underway for nearly two decades, if not longer. Many consider the venture more of a hobby than a duty. As a result, many who enter the space don’t last and never truly break through or meet the goal of becoming an example of how to navigate the practice to excellence. For Taylor Lewan and Will Compton, what began as an idea in an abandoned Budweiser bus has morphed into one of the most successful independent podcasts in sports media with Bussin’ With The Boys.
“It’s extremely humbling to feel like what we’re doing is working,” said Lewan, reflecting on the journey of Bussin’ With The Boys since its inception in 2019. “Our lives were spent as football players, and you get to a point when you think you’re peaking. Now we get to go into a world where we’re learning so much every single year, and a new opportunity to be great at something else.”
Now, seven years after their debut episode, Bussin’ With The Boys has become one of the most sought-after football digital brands in sports media. This past football season, Bussin’ expanded its scope and collaborations. The show added additional podcasts to its portfolio, separating its Locker Room podcasts into college and professional football verticals. In addition, the brand partnered with ESPN for weekly appearances on Get Up and other programming.
2025 marked a massive year of growth for the Bussin’ With The Boys brand. When Barrett Media released its first digital show rankings, Lewan and Compton were recognized as the sixth-best digital show among 580 programs considered.
“It feels surreal,” said Compton. “Shout out to the boys in the back of the bus. We’re always talking about how we can get better everyday. To look up and see rankings like this. It’s a testament to all the guys we have in this building.”
Growth has been the mission since the beginning. Compton and Lewan launched the podcast while both were still active in the NFL. At the time, it was a risky move, as few players provided that level of access while still sharing a locker room with an NFL franchise.
Growth And Departing Barstool Sports
The content quickly became a hit. Insights and discussions rarely heard in traditional press settings fueled audience growth and influence in the space. Eventually, Barstool Sports brought the podcast onto its network, where the Bussin’ brand grew exponentially over the next five years.
“Give a lot of flowers to Dave Portnoy, Erika Nardini, Big Cat, and everyone at Barstool Sports. They brought us into their world which fueled our fire,” explained Lewan. “Without them, we may not have had the ascension we’re at right now.”
Like players learning under a head coach, Lewan and Compton spoke highly of the lessons they gained while working under the Barstool Sports umbrella. They also valued the freedom to remain authentic. Barstool guided them through strategies to increase engagement, downloads, and overall audience growth. Lewan described it as a crash course in understanding the internet and catering to audience demands.
Then, in January 2025, Bussin’ With The Boysleft Barstool Sports despite efforts to retain the podcast.
“Leaving Barstool was very difficult,” said Lewan. “But what we learned through the process of having so many advertisers and clients work with us is the most important thing is being aligned based on what they want to do, and what we want to do. That includes being aligned creatively as well.”
Just weeks after departing, Bussin’ With The Boys reached a new sponsorship agreement with FanDuel and regained its independence.
“When you leave a brand like Barstool, who has a massive audience, you lose their roster to collaborate with,” explained Compton. “It’s now up to us to find our collaborations. Because collaborations rise all ships.”
Collaborating With FanDuel, ESPN
The FanDuel agreement in January 2025 proved to be a game changer for the brand’s trajectory. Rather than simply accepting a sponsorship, Lewan and Compton worked closely with FanDuel on project ideas and integrations. The level of feedback and creative freedom checked every box they sought in a title partner.
“When we looked at all the pros and cons, FanDuel looked like they were going to be an incredible partner. Just one year into the deal, they’ve treated us amazingly,” said Lewan. “FanDuel made the transition much easier for us leaving what felt like a family with Barstool Sports.”
Following the partnership with FanDuel, another opportunity emerged.
As the NFL season approached in September, ESPN announced a collaboration with Lewan and Compton for weekly appearances across its programming, including Get Up. The opportunity provided exposure on the largest sports network in the country and introduced the Bussin’ brand to a broader audience.
“This year with ESPN was incredible,” said Lewan. “When you walk into the ocean of media, and we grew up watching ESPN too. It was an, ‘Oh s**t. We’re with the big dogs now’ moment. The locker room vibes were absolutely incredible.”
Lewan and Compton became another example of ESPN’s shift toward incorporating outside voices. The network, which licensed Pat McAfee’s program just two years earlier, continued expanding its collaboration with digital creators.
This trend is one both Lewan and Compton have embraced, despite limited experience in traditional sports television.
“ESPN has done a tremendous job of listening to the audience. Whether or not they get hate or love, everyone thought this time last year ESPN was going to die,” said Compton. “All the moves they’ve made, us being a small piece. ESPN has done a great job keeping their ear to the ground and listening to what the consumer wants and adapting along the way. There’s a new wave of these brands collaborating with each other because it works.”
Both credit McAfee as proof that authenticity resonates more than formality. Appealing to the everyday fan has always been central to the Bussin’ brand.
Gameplan For 2026
Bussin’ With The Boys now enters an offseason following a year of significant independent growth. However, neither Lewan nor Compton plans to slow down.
“This job is the best. We f***ing love our lives. How great is this,” said Lewan. “There’s a good balance to all of it. You should be a little stressed about wanting to perform and having a level of competition coming up with great content. But also, what is helping me grow in this industry.”
Currently, the team is evaluating its performance over the past year, reviewing existing projects while developing new ideas and partnerships. Lewan and Compton continue to lean on their athlete mentality, focusing on self-evaluation and team collaboration to make 2026 even bigger.
“We can do anything and as much as we want to. We’ve gotten into a lot of different lanes,” said Compton.
In a space where many former athletes enter but few endure, Bussin’ With The Boys has distinguished itself by treating content creation as a craft rather than a side project. What began as two teammates talking football on a bus has evolved into a blueprint for blending authenticity, adaptability, and business strategy.
“People like feeling like they’re a part of something,” said Lewan. “We’re always looking to give something to the audience where they feel more a part of it. There’s been small changes here and there that I think have been awesome for the audience and the tier one fans that have been with us since day one. It’s about creating a higher sense of community with Bussin’ With The Boys.”
As the lines between traditional media and digital creators continue to blur, Lewan and Compton aren’t just riding the wave — they’re helping define where it goes next.
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.
As Women’s History Month concludes, Barrett Media is sitting down for conversations with some of the highest-ranking female executives in the media space. We begin the series with one of the most accomplished executives — male or female — in the business: Premiere Networks President Julie Talbott.
After originally beginning her career in advertising at BBDO, Julie Talbott joined Premiere Networks in 1999 as Senior Vice President of Integrated Marketing Solutions. In 2003, she was elevated to Executive Vice President of Affiliate Relations.
Julie Talbott was later promoted to President of Content and Affiliate Relations before again rising eventually to the role of President of Premiere Networks in 2014.
In this conversation, Talbott answers if she thought there was a pathway to an executive role in media when she began, what she enjoys about her job, and why she believes it’s her duty to mentor those wishing to follow in her footsteps.
Garrett Searight: I’d like to start by going back even before your career started. When did you know that you wanted to get into radio and be in the media space?
Julie Talbott: Well, I think it’s almost a bigger issue than that. I grew up with women in my life who were all working, whether that was in the banking community or running a farm, et cetera. I had always had the ability to see women in a workplace, and I think that always influenced me. That was the way it should be.
It really wasn’t until I graduated from college and came to New York City that I had the opportunity to talk with people in every industry. The broadcasting field just completely grabbed my imagination and that creative juice that gets flowing. It really was an industry that allowed everyone to contribute.
So I would say it was right after college, having the opportunity to really see different industries in New York City in action.
GS: There are a lot of folks who even today still believe that radio is a male-dominated industry. When you look around, the CEO of Audacy, the CEO of Beasley Media Group, the CEO of Cumulus, the CEO of Hubbard, the President of Bonneville — you can go down the list — there are women executives leading all of these organizations. Did you think that was possible when you first got into the industry, that you could rise to the level that you have?
JT: Absolutely. I knew that it would be a tough road to travel, but I never doubted it. You set your goals and you go after them, and we’ve made extraordinary progress across all of audio and broadcasting — whether in on-air roles, leadership roles, or influential voices.
We have really seen incredible change, whether it’s on air with Angela Yee, Delilah, and all the support with Amy Brown, Gandhi, and Danielle Monaro. We just have so many terrific on-air folks, as well as in leadership roles. So I never did doubt it. I knew that it would be a hard road, but I never doubted it.
GS: Who are some of the people who influenced you on your journey to where you’ve gotten?
JT: I think every manager I’ve ever had. Whether that was Darren Davis, Charlie Riley, or the leadership of Bob (Pittman) and Rich (Bressler), everybody has been open to listening to what my goals have been. I don’t think there’s one person — it takes an army.
The more people you get to work with, the more opportunities different people have to get to know you and how you work.
GS: Now that you’ve risen to the stature that you have, how important is mentorship from you to other people coming up in the industry?
JT: Very important. Walking around the floor, not recognizing some faces, and always saying, “Hey, what are you doing here?” — I think all of us as managers have been very open to saying, if you have anybody in your department who needs to talk with me or wants to talk to another manager, let’s encourage that. Let’s make sure they feel comfortable to say, “Hey, I’ve been really thinking about production,” so I can put them in touch with the production team to talk about what a day looks like.
Mentorship is really critical, and I think iHeart does a really good job of that, so that young folks know there is always someone open to talking to them.
GS: What’s the best part of your job?
JT: Being with all the different people. This industry has the most amazing, interesting people doing all kinds of different things and always bringing unique ideas. Being down here [Talbott was at Country Radio Seminar during our conversation] — really shows that, because there are people from all parts of the business, and each conversation is more interesting than the next. Just being with the people, gathering their ideas, and talking about new things coming up is really the best part.
GS: If somebody were to ask you for advice on climbing the ladder in the media space, what would you tell them?
JT: Talk to as many people as you can. Let as many people know what your goals are as you can, and work harder than anybody else to get there.
GS: That’s good stuff, Julie. Is there anything else you’d like to include that I didn’t ask you?
JT: I think we’re good. We’re proud of what we’ve done at Premiere Networks. We have women in every position, and we’ll keep expanding. The most important thing is not just about the number of people — it’s about the opportunities.
For those who want to rise, we absolutely need to help them in any way we can, because the greater diversity you have in every position, the more diverse ideas you have to come up with the best solutions.
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.
Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. For future guest consideration, email me at keithblackboxgroup@gmail.com.
Today we visit with one of the hardest working and most successful morning guys in the industry, Woody Fife. He owns and hosts the nationally syndicated “The Woody Show,” manages the cast and staff, and brings a unique perspective as both a business owner and veteran talent.
“The Woody Show” broadcasts live from Los Angeles on KYSR/Alt 98.7 each morning and can be heard across the country in places like St. Louis, Pittsburgh, Dallas, Philadelphia, Indianapolis and other markets.
So, let’s dive in.
From the FM Era to Digital Scorecards
Keith: You were doing morning radio before digital goals became such a big part of measured success. With digital now a part of the scorecard, how has your approach to the show and content changed from maybe 15 years ago?
Woody: It hasn’t really changed too much. I still approach what we do the same way. It’s a listening medium first, everything else second. The river doesn’t flow backwards. We start with what’s a great idea that makes sense for over the air. If there’s a way to make it work for digital—whether that’s YouTube, Instagram, or other socials—then so be it. We’re found in all of those spaces—podcasts, social, etc., but it’s not where we plant the seed.
The Influence of Morning Radio Today
Keith: Morning radio used to be a lone wolf with newspapers as dominant influences on markets, but the paradigm has shifted due to an abundance of choice for news and information — what superpower does morning radio still have and do better than anyone else?
Woody: I think our superpower is connection—the personal relationship we’re able to cultivate. We’re the best friend they’ve most likely never met. News sites, entertainment blogs, YouTube videos… they all serve their purpose, but they lack anything truly personal or vulnerable. Those things provide the connective tissue that makes all the difference.
Local and Syndication Balance
Keith: Industry strategists say “being local” is a bigger opportunity and more important now that it was decades ago. Do you agree with that, and how do you balance having some “local presence” in several different markets all at the same time?
Woody: If being local is your thing, go all in on it. A great example is Preston and Steve in Philadelphia. It doesn’t get any more local than that, and they’re an EXCELLENT show. “The Breakfast Club” is an EXCELLENT national show with very little in the way of local content. Both are successful. I don’t believe in “local for the sake of being local.” Just because it’s local doesn’t mean it’s interesting, and vice versa.
For “The Woody Show,” we give affiliates the opportunity for us to sound as local as we do in our home market of Los Angeles. For example, “The Woody Show” airs in afternoons on 105.7 The Point in St. Louis. Localization is super important to them. When you listen to our show there, it’s very localized. But that’s up to each station, and not everybody is interested in that—or in doing the work that comes with it.
Audience Relationships
Keith: There’s a lot of talk about the importance for radio to build “audience connection,” but what actually builds listener relationships and loyalty in 2026? What will keep someone choosing your show every morning versus everything else available to them?
Woody: Getting their attention is step number one. Even with the challenge of competing with everything else out there, I’d argue that’s still almost the easiest part. The hard part is everything that comes after that. Sure, you got their attention once, but now you have to do it again tomorrow, and the day after that, and the day after that. And you want them to listen longer today than they did the day before. I know it’s overused, but authenticity is key. Keep things fresh and evolving. Loyalty is earned when you combine those things with consistency. You show up and meet the expectation day after day.
Audience and Content Differences
Keith: Musical preferences can change from city to city, but do you see content preferences or differences? In other words, does a segment from your show or a general subject matter do much better in one city than another? If so, how do you manage that?
Woody: I don’t think it matters. I have yet to find a market that doesn’t think they’re somehow “special” and different from everywhere else. Sure, there are subtle differences here and there, but people are people. We all live in the same country. People here are watching the same TV shows, movies, and listening to the same music. Despite what you might see or hear on social media, we have way more in common than we do differences. I try to pull content from that common ground—the things we can all relate to.
Prep vs. Spontaneity
Keith: I’ve heard you arrive to the studio at around 2am, which a) makes you a vampire and b) shows how much time and effort you put into the show. When the mic turns on, how much is planned vs. spontaneity?
Woody: It’s because we’re so prepared that we can pivot to spontaneity when the opportunity presents itself, instead of relying on it and hoping something good happens.
I can tell you what we’re doing every segment for the next seven shows. Those segments are prepped and ready. But things don’t always go to plan. Something you thought would be a home run ends up being a strikeout. Something you thought would be a quick two-minute conversation turns into something bigger. I never wonder what we’re going to do next. It all goes back to being ready when a listener gives you that opportunity. Good teams come up with a game plan and practice hard so that when it’s game time, you can relax and focus on execution.
Game Film and Growth
Keith: How do you go about growing, getting better, evolving? Do you get advice from PDs or corporate coaches? Do you actually listen to your show and critique yourself and the cast?
Woody: I’m always thinking about the show. I’m by far our biggest critic. I have a group of people I go to for feedback. Some of them are in radio, some aren’t, but they’re all people I trust for honest advice. I crave that feedback and look forward to seeing the research we get about the show. I haven’t hit a 100 share yet, so there’s always room to improve. I’m not too precious about any of it. Somebody told me years ago, “The minute you begin feeling fine and fair is the beginning of your downfall.” I believe that. That said, there’s no way I’m sitting through an aircheck with a program director ever again 🙂
Cancel Culture & Insensitivity Training
Keith: At the top of every hour, listeners hear you say, “… insensitivity training for a politically correct world.” For those unfamiliar, explain what that means, and how do you go about pushing boundaries without crossing lines that can lead to being exiled.
Woody: That’s something I’ve used on the show for the last 15 years. It’s only made more sense over time. It was basically a “trigger warning” before anyone used the term “trigger warning.” It started as a joke in response to some company training that the employees at the station were given at the time called “Words Hurt and Harm”, which was under the umbrella of “sensitivity training.” We did the training live on the air, and at the end of it listeners declared that our show was “insensitivity training for a politically correct world.” We thought it had a good ring to it, and it stuck. It’s basically our way of saying we’re here to have a good time, not toe the line.
What Marketing Moves the Needle for Radio?
Keith: You’re responsible for much of the marketing and promotion for your show. What actually moves the needle outside of content?
Woody: It depends on what you’re trying to accomplish. If you’re looking for attention (new ears): things like prizing, stunts, the right social media push, or billboards can work. We had someone on our show walk 41 miles from the radio station to Disneyland.
If you’re looking for connection with the audience you already have, it’s about organizing events and getting face-to-face with listeners.
It’s never one or the other. You need a mix of both. And you don’t always need money to make a splash. Sometimes you just need a good idea. One of our biggest promotions in the last 12 years cost $500 to buy a car off Craigslist for a “piece-of-shit car giveaway.” We smoked every other station in the building in both ratings and digital traffic, and they were giving away huge high-value prizes (Pay Your Bills, another station was giving away “his and hers Mercedes”)
Ratings
Keith: Statistically, it wouldn’t be uncommon to have a big book in one market and a down result in another — how closely do you follow the ratings, and how does it impact how you approach your show?
Woody: I don’t look at the ratings. I hear about them from time to time if someone shares them, but I made a decision long ago to focus on what I can control. If I can’t control it, I don’t worry about it. Everyone in radio complains about Nielsen, but we’re all in the same boat. We don’t control who gets a meter or how long they keep it. So I can’t worry about that. What I can control is what we do on the air every day: being prepared and putting out the best of what we’ve got on any given day, not being complacent, and trying to improve and evolve the show to keep things interesting. There will be ups and downs but doing those things consistently over time will get you where you need to be.
Young Talent
Keith: An 18-year-old walks into your studio and wants to know how to become the next big radio star. What’s your advice?
Woody: One thing I hate is when people answer this question with “run.” Like we have it so bad in radio. Look at what most people do for a living. On our worst day it’s still better than painting stripes on the highway.
Okay, what would I advise? My advice would be to think beyond radio—beyond FM, AM, XM, even beyond audio—because that’s where things are heading. I’d ask them, “What’s your thing?” Find your lane and focus on it. Figure out what you naturally pour your energy into—music, lifestyle, comedy—and set out to become the go-to for that. There will be failures and setbacks. Have patience. You’ll need it.
The One Thing
Keith: Research would say being “consistently funny” is the most important trait a morning show can possess. Let’s assume that’s right. What’s #2?
Woody: Authenticity. Consistency.
2040
Keith: What does morning radio look and sound like in 10-15 years? Are you still going to the iHeart LA studios and doing a live show? Do benchmarks like DUI-Q or Friday Fail Stories still live on the radio? What changes do you see in the future?
Woody: In 10-15 years? God, I hope not. I can promise you I won’t be waking up in the middle of the night anymore. We’re already an on-demand society. Outside of news and sports, I think sooner than later the rest of us will just be responsible for creating a certain amount of content, and it won’t matter what time of day it gets done. From there, our employer will distribute that content on all the different platforms: terrestrial, podcast, video, social, etc..
If You Ran Radio
Keith: You’ve been elected The President of Radio. Take commercials out of the equation. What’s the biggest thing the industry is getting wrong right now? And if you could change one thing tomorrow, what would it be?
Woody: What’s right: focusing on content creation and less on the music. What used to be radio’s advantage was that we had the best music collection. People only owned or had access to so many songs or albums… so unless they went out and bought it, they had to listen to the radio to hear stuff. Today, everyone has access to all of it—every song ever recorded right there in their pocket. HBO isn’t about movies like it used to be. Sure, that’s part of it, but it’s all about their original content. Same with Netflix.
Content shows and personalities are what all these companies need. They know it, and they’ve gone all-in on recruiting the best people they can find.
The biggest mistake: publicly traded companies. It puts you in a position where you are always in cost-cutting mode because we are a mature industry that will never be able to match the year-over-year growth that Wall Street expects. Up 2% as a private business? Everyone celebrates. Bonuses all around. Up only 2% as a publicly traded company? Employees and resources are getting cut, and the product suffers. How many more people can we afford to lose? Who is left? Is anyone reading this?
Your Best Story
Keith: All big shows like yours could write a book full of great stories. What’s the one you like to tell that we should hear? Guest related, mishap, flop, pure mayhem?
Woody: For me (and I know it sounds cheesy) my best story has been the journey.
I started as an intern where I spent two years working for free. Tiny stations, tiny markets (did I mention tiny money?). The only career goal I ever set for myself was to get a full-time radio job that paid enough so I didn’t have to have a second job. That’s it. Here we are 30 years later. Mission accomplished.
Doing a show like this, at this place, at this level was never part of any plan. Every step has had its ups and downs, and if I had to go back and do it all over again, I would in a heartbeat.
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.
There are still many questions to be answered about ESPN’s role in taking control of NFL Network. Yesterday, according to a report from Front Office Sports, one of the more immediate questions received an answer. When the NFL Draft takes over Pittsburgh next month, NFL Network will remain status quo with its longstanding NFL Draft presentation.
That means Rich Eisen and the team will not get the weekend off. Then again, if you asked everyone involved, they would likely want it that way.
The report should also spark speculation about how the network will be utilized next year, as ESPN prepares to host its first Super Bowl broadcast in network history. If ESPN will also control NFL Network’s programming, could there be another first when toe meets leather in Inglewood, California?
When ESPN announced its arrangement with the NFL, there was a period when many at NFL Network felt concerned. Anytime another entity takes over your workplace, nerves are tested. Anyone who has worked in media can recall those chilling feelings of an uncertain future.
Despite numerous roster cuts over the past decade, ESPN instead chose to absorb all existing NFL Network talent contracts as part of the acquisition. That is a hefty load for any network, given the amount of talent and salary involved. However, from ESPN’s standpoint, it expands the roster with personalities who have already built audience trust and engagement with NFL fans.
You didn’t really expect the NFL to acquire 10% of ESPN only for the network to cut costs with its newest acquisition, did you?
Still, Monday’s news speaks volumes. Rather than using NFL Network as another outlet for ESPN/ABC’s presentation of the NFL Draft, the approach remains unchanged. Rich Eisen, Daniel Jeremiah, Charles Davis, Joel Klatt, and Ian Rapoport will likely all return to the screen as dreams come true for more than 250 people behind the scenes.
Now that the NFL Draft is settled, could this create an opportunity for ESPN with the Super Bowl? Would ESPN dare to pit a Rich Eisen–Kurt Warner call of Super Bowl LXI against the tandem of Joe Buck and Troy Aikman?
Fortune favors the bold.
There is no denying ESPN wants its first Super Bowl broadcast to exceed anything any other network has produced. You do not start a countdown the moment the previous game ends just to generate a cheap headline. ESPN is serious about its year-round “Year of the Super Bowl” campaign, which includes extensive promotion and programming across ESPN, ABC, and Disney platforms.
So why not include NFL Network in that mix? If ESPN sought influence and content direction over NFL Network, this is the moment to make an impression with the biggest event on the NFL calendar.
The question is: should they?
What ESPN has done—and continues to do—with the College Football Playoff National Championship is something FOX, CBS, and NBC cannot replicate. For all the cameras and microphones placed inside a stadium, the depth of content ESPN delivers remains unmatched.
While most networks emphasize pregame and postgame coverage during the Super Bowl, ESPN’s strength has always been the in-game experience.
This year presents a challenge ESPN has never faced before with the Super Bowl. In an age of alt-casts—something ESPN has mastered—most people still watch the Super Bowl in one place: the main broadcast. The Super Bowl is not the College Football Playoff National Championship Game. It has always been different. But with ESPN, will it stay that way?
Every network aims to maximize revenue and reach while delivering a fresh viewing experience. Programmers constantly chase a new look, sound, or presentation that hooks an audience and brings them back. At the same time, an older audience remains rooted in tradition, while younger viewers consume content in entirely different ways.
Historically, the Super Bowl has been a singular destination. While networks have experimented with streaming elements or secondary broadcasts, the priority has always been clear: drive viewers to one central presentation.
Now that ESPN’s first major decision regarding NFL Network is to maintain the status quo with the NFL Draft, what will it do with the Super Bowl? If NFL Network is owned by the NFL, operated by ESPN, and the Super Bowl broadcast is produced by ESPN, the opportunity is obvious.
Why not assemble an alt-cast with Rich Eisen, Kurt Warner, and company? If creating alternative broadcasts is a priority—and if there is revenue to be gained—fortune favors the bold.
At some point, ESPN must decide whether its vision for NFL Network remains the same, becomes bigger, or evolves into something entirely different.
This is not just about filling programming hours or justifying a business arrangement. It is about maximizing an opportunity no other network has ever had—full operational control of both the primary broadcast and a secondary, fully built-out football network with its own trusted voices.
The NFL Draft decision suggests ESPN understands the value of letting NFL Network be itself. Not a duplicate. Not a simulcast. A complementary product serving a slightly different audience with a distinct tone.
That same philosophy should extend to Super Bowl LXI.
No, you do not disrupt the main broadcast. Joe Buck and Troy Aikman will remain the centerpiece, and rightly so. The Super Bowl still demands their voices—the call most viewers will remember.
But alongside it? That is where ESPN can separate itself from every network that has come before it.
An alternative broadcast led by Rich Eisen, Kurt Warner, and the NFL Network crew would not dilute the product—it would deepen it. It would give fans a choice without pulling them away from tradition. It would serve the audience ESPN is trying to grow while respecting the one that made the Super Bowl what it is.
More importantly, it would send a message.
That ESPN did not gain influence over NFL Network simply to maintain it—but to use it.
The safe move is sticking with one feed. The expected move is treating NFL Network as shoulder programming.
The smart move?
Make Super Bowl LXI the moment ESPN proves it can honor tradition on the main stage—while building the future right beside it.
Barrett Media produces daily content on the music, news, and sports media industries.Sign upfor our newsletters to stay updated and get the latest information right in your inbox.
What are the biggest Google searches for the news/talk audience? What are they looking up online, and this is very applicable for us in radio?
Let’s start with this premise: most news/talk radio stations target men somewhere between the ages of 40 and 60. Considering that we no longer need to retain useless information, what are these people searching for during their digital lives? How can news/talk radio use this data to our advantage?
The number one Google search is news, politics, and current events. I have found that many hosts bury themselves in the small details. Your audience can find out the information they crave on their phone in an instant. Your listeners can go down that rabbit hole about the Iranian regime’s human rights abuses. The phone can dig into any tangent.
I am not saying that you don’t need interesting tidbits — I am telling you that being the one-stop information shop is not a winning strategy for your show. It is about your opinion and observations.
The next most popular Google searches are finance, jobs, and the economy. Obviously, gas prices are currently in the news. Are you an investor? Most people are part of a company 401(k) program. Many people have stocks, crypto, and mutual funds. When is the last time you griped about your personal stock holdings? Investments are a huge part of people’s lives in our target demographic. Do you work this into conversation? If you want to build a stronger bond with your audience, you must reflect on their lives.
Your station’s target listener is interested in sports. If you have not been discussing the NCAA men’s basketball tournament, you are missing a huge chance to relate to your audience. Yes, sports are a huge search subject.
Let’s say that you are not particularly interested in sports — do this: look at the headlines at ESPN.com every day. Check out the information on your local professional and major college teams. Just as a matter of perspective, following prep sports is not a winning strategy unless you are in a very small town. You don’t need to know everything, just be familiar with your teams. I am in Missouri. The Kansas City Chiefs are a center of conversation, and if you are not paying attention, it is a missed opportunity.
Another surprising Google search is health. Your target audience is interested in feeling good — they don’t want to croak. The guys are investigating their testosterone levels and are really worried about erectile dysfunction. Is there a cure for male pattern baldness? The male 40–60 target demo is not that interested in much else when it comes to medical information. Eating better and not dropping dead is a thing.
Another big Google search is “how-to” videos. Your sink is plugged and you don’t want to pay $500 for a plumber to fix the issue. Try it yourself first. YouTube is built on videos that can assist with home improvement, car repair and maintenance, smoking a brisket, your hobbies, and so much more. When is the last time you referenced a common problem you are experiencing at home and asked your listeners for tips?
People love to share their knowledge. “How-to” videos are sometimes used purely for entertainment. I have a buddy who just watches them. I know that watching videos on how to repair a tractor when you don’t own a tractor seems odd, but it is a great way to follow an interest. There was a time when finding information on anything was a scavenger hunt — you would go to a bookstore and search for that information, or the library. Now, you have that in your hands. These videos are a way to relate to your audience.
Here is the reality of the situation: information is no longer a mystery. We have access to an avalanche of data. The problem is distilling it into useful and applicable bites. This is where opinions and observations provide that clarity. Any host can just give the information — that is the easiest part of our job. Taking the data and personalizing it is the challenge. What does this mean first for the host, and then for the audience?
This is the quest of every host in news/talk radio. If your setup is 80 percent information and 20 percent opinion and observation, you are in a losing battle. I am not saying that providing information is a bad thing — I advocate that information is no longer a monopolized strength of anyone in mainstream media. And yes, I said it: news/talk radio is mainstream media. Radio has been part of the distribution of information delivered by very few people.
Now, anyone with a social media account can provide information on the fly about any situation. The democratization of media has had many very beneficial effects on our society, though there have been some downsides as well. There is a glut of poorly sourced news stories that sometimes reach print, TV, and radio. I know of one TV station that had to apologize for running a news story that was an artificial intelligence-produced graphic from a fake “news” account.
The gatekeepers need to actually check their sources. Your observations and opinions are always more important than the information. Information can be obtained almost everywhere.
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.
Last week’s Country Radio Seminar (CRS)—as it does every year—turned Nashville into the epicenter of the country music business. Programmers, labels, artists, and air talent met in Tennessee for three packed days. The time was filled with idea sharing, networking with new and old friends, and mingling with artists in an unprecedented setting.
Before the 2025 CRS last year, we offered suggestions for prepping for the seminar, or any industry event. Have a plan and a clear goal for what you want to bring home with you.
This year, CRS felt like a temperature check on where country radio stands today. A few sessions offered a roadmap for how country radio can adapt to impending A.I. threats. How to build connections away from the microphone, and maximize outstanding networking opportunities.
I spoke with a few veteran CRS attendees to get their take on this year’s event. Along with suggestions for the Country Radio Seminar next March.
The ask was simple: Tell us about your 2026 Country Radio experience. Also what suggestions would you offer the 2027 CRS Agenda Committee?
Responses came from country radio programmers, as well as those closely connected to the Country Radio Seminar process.
Ron Allen is a brand manager and format captain for Midwest Communications in Nashville. He’s been an attendee of the Country Radio Seminar for fifteen years.
“I always have a great time at CRS and find something useful in every panel I attend. For me it’s more about the conversations I have with other industry professionals discussing ideas and opportunities,” said Allen. “The music discovery aspect is also a crucial part of the event. I’m not only discovering new songs, but I’m meeting and learning about the artists who will impact the music charts over the next few years.”
As for Allen’s suggestions for next year’s event, he stated he would love to see a panel on classic country stations.
“One of the stations I program focuses on the ’90s. We interact frequently with artists from that era, but we also connect with current artists,” said Allen. “It would be great to discuss how other ’90s-based brands stay current and how record labels collaborate with those brands.”
Kevin Callahan is the executive director of operations and programming for Pamal Broadcasting in Albany, New York. He’s also a fifteen year attendee of the CRS and Agenda Committee co-chair.
“The artist performances were fantastic—Kassi Ashton and Ella Langley absolutely delivered,” said Callahan. “While the music is the heartbeat of what we do, I want to zero in on where the game is actually won: the workshops. These aren’t theoretical discussions. They are tools you take home and put to work on Monday morning.”
Callahan specifically pointed to how useful the workshops he attended were, and also the range of discussions each held.
“From optimizing our daily execution to navigating the realities of AI. The sessions and workshops this year delivered an A+ experience across the board. The great news? If you missed any of them, they will be available on-demand on the CRS site. Don’t leave that knowledge on the table,” said Callahan.
He also noted that the talent development focus was exactly what the industry needs at the current time.
“Air talent is the ultimate difference-maker in our environment. Period. Teaching skills that save time and elevate content isn’t a luxury; it’s how we stay the envy of the industry,” said Callahan.
There also was a sense of challenge being made by the panels in which he attended. Many of which sparked enthusiasm about the landscape of the industry and how to navigate the hurdles presented.
“Panels like Lead Me Like You Mean It and Why Playing It Safe is the Death of Your Career challenged us to step up. Lead with purpose, and take calculated risks,” said Callahan. “They even held a workshop to help talent understand contract negotiations and legal realities. I think about how valuable that kind of transparent insight would have been earlier in my career.”
Callahan’s role as Agenda Committee co-chair also allows him a front row seat on the development of these panels.
“Getting to collaborate with energized, talented colleagues at every stage of their careers is incredibly invigorating. When we share what we know, we all get better,” said Callahan. “We are already looking ahead. I’ll be bringing feedback back to the committee so we can continue to encourage and elevate our air talent. If you have takeaways, thoughts, or feedback from this year, send it my way. Let’s own the growth of this industry together and keep moving the ball forward.”
Tom Oakes is a retired country radio veteran who’s been attending the CRS since the mid 1980s. Following his decision to step away from the industry last year, he says he wasn’t sure if he would plan on attending the CRS this year.
“I’m glad I spent the week on the road heading to Nashville,” said Oakes. “The one thing that doesn’t change is the opportunity to see and hear new artists who are embarking on their career path. Plus, having a chance to hear forthcoming music from Kenny Chesney made me wish I still had a station to program.”
When it came to what Oakes saw in the sessions this year, the research panels stood out among the rest.
“One was the CMA’s panel on teens and country. Today’s teens will be tomorrow’s radio listeners,” said Oakes. “Knowing usage patterns, what appeals to them, and how they consume music is important information as we look to the future. The one thing that wasn’t fully answered was the regional differences, especially in the music study. While I’m sure I’ll be able to figure it out by reviewing the data, it would have been nice to hear some of the differences the researchers identified.”
When it came to suggestions for next year’s CRS, the veteran attendee says condensing the event could prove beneficial.
“The one thing I would ask is whether three days are necessary or if two days would work better,” stated Oakes. “It’s an expensive proposition once you add up registration, hotel, airfare, or gas and parking if you drive. Plus those daily expenses. Nashville, while one of my favorite cities to visit, is not an inexpensive place to visit. There hasn’t been one I haven’t left without learning new information, being reminded of things I have lost track of, and making new friends while renewing old friendships.”
Brian Thomas is the president and lead consultant for BT Radio Waves. He’s attended the annual CRS since 1994.
Brian Thomas (Canva, Brian Thomas)
“I felt a lot of excitement by attending this year’s CRS. The doors to our format are open, and that’s a good thing. Thanks to Morgan Wallen, Post Malone, Lainey Wilson, Ella Langley, Riley Green, and even Beyonce bringing in some curiosity cume,” said Thomas. “I really enjoyed the DTS info and the big sample size of 16+. I would love to compare this data to Nielsen on a big country concert night in Tampa. In the ratings, country will be number one or two. Will DTS show the same, with cars tuned to local country radio stations while tailgating in close proximity to Raymond James Stadium?”
Thomas shared his happiness with the panels he sat in on housed by various different companies. However, he did have several suggestions for improvement into 2027.
“Strategic Solutions mentioned country radio listening seems to be higher during summer, but they didn’t know why. That answer is summer concerts. I didn’t experience that phenomenon until working in New York City. Before that, all of my country radio experience was in warm-weather markets with a 12-month concert calendar,” said Thomas. “Music Test from NuVooDoo. I loved the music test with Carolyn Gilbert and Leigh Jacobs. Great stuff.”
That was one of many aspects that Thomas also hopes to be considered for next year’s CRS.
“Is there a way for CRS to be more than just panels and showcases? What can attendees walk away with that will impact their station the week after the convention,” questioned Thomas. “Is there a way to create more networking instead of relying on hallways and parties? Can we do a “Find Your Next Job” matchmaking session, where the heads of top radio companies meet prospective talent and PDs for future openings? Can we embrace digital instead of just talking about it?”
In the end, Thomas felt like this year’s experience at the CRS set an overall positive tone and showcased a bright future.
“I texted CRS Executive Director RJ Curtis during New Faces on Friday night. I told him yhis may be the best energy to start New Faces EVER,” said Thomas. “Chase Matthew set the tone, and Ella Langley brought it home. What a great way to end a great week at CRS.”
You can reach Brian Thomas here. We also profiled Brian’s overseas journey a couple of weeks ago as well. Check that column here.
John Shomby is the CEO of Country Radio Coach based out of Nashville. He also serves at the vice president of the Country Radio Seminar board of directors, and is a 23-year CRS veteran.
“I’ve been coming to CRS since 2003. That being said, I can tell you that, no BS, the experience gets better every year because everyone here is absolutely intentional. From panels to the music to those discussions in the hallways. Getting to see and meet a bunch of first-timers there. I’m feeling really good about the future of this format,” said Shomby
As for suggestions on how to make the CRS experience better heading into next year, Shomby would like to center conversation on more diversity in the industry.
“We need to continue to explore diversity and disruption. We’re missing a big audience by not tapping into African-American, Hispanic, and LGBTQ+ music communities,” said Shomby. “We need to pursue that area more in the future, which leads to the ‘disruptor’ side. I’m seeing and talking to more of these folks (disruptors) within both small and large companies. In country, at least, the keys are starting to go back to the local station—little by little. More creativity than disruption, in a sense.”
Steve Wall is the vice president of radio for Alpha Libraries / Source Audio and chief creative officer for TalentFarm.net. Wall made his tenth appearance at the CRS last week in Nashville.
“CRS is still one of the most important weeks of the year. Not just for country radio, but for the entire business,” said Wall. “For me, it always comes back to the people. Seeing old friends, making new ones, and getting real face time with our growing Alpha Libraries partners. That’s where the good stuff happens. You hear what stations need, what’s working, what’s not, and what we can do to improve Alpha Libraries. A lot of what we’ve built with Alpha comes straight out of those conversations and what’s happening every day in production rooms and on the air.”
Wall noted that the stations that are winning in the industry now are not just playing great sound. They’re uniquely owning the moments between songs, where he says t he goosebumps are made. As for suggestions on what he’d like to see moving into CRS 2027.
“One small but mighty upgrade—the badges. Better this year, but let’s go big next time. Double or triple the name size. If I can read your name from 10+ feet away, that’s one more conversation that probably wouldn’t have happened otherwise,” said Wall. “Oh, and keep it mid-March. Much better weather.”
The networking conversations are wrapped. Showcases provided lasting memories as the CRS energy have faded. No one does a gathering for radio like the Country Radio Seminar.
It’s a world-class event that deserves to last for another five decades. If CRS is the industry’s annual compass, this year’s gathering pointed squarely toward purposeful growth.
For CRS ’27—March 17–19—I suggest the agenda committee ask about every piece of programming.
Why?
What can CRS offer that would be worth the price of admission for those in Springfield, Fargo, and Boise? Give attendees a compelling reason to ask their boss for $3,000 toward a three-day trip to Nashville. The next industry gathering promises to rival what CRS has built.
The Barrett Media Audio Summit gathers in New York City June 30–July 2. See you there!
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.
RCS Worldwide is making a significant leadership move. The company has named Susan Larkin its new President and CEO. She succeeds long-time leader Philippe Generali, who announced his retirement early in 2026.
Larkin steps into the role with a resume that reflects deep experience across broadcast, digital, and data-driven audio operations. Most recently, she worked for Audacy, where she served as Chief Operating Officer. In that role, she oversaw 45 markets and a business generating more than $1 billion annually. Her vast experience has given her a broader view of the modern audio landscape.
Previously, Larkin held key leadership roles with Cox Media Group. Notably, she served as Regional Vice President, guiding national sales strategy for the company’s radio division. Throughout her career, she has consistently focused on revenue growth, operational efficiency, and evolving media trends.
At RCS, Larkin will oversee a portfolio that includes RCS, Media Monitors, Mediabase, and Florical Systems. Additionally, the company is focusing on innovation, product development, and delivering advanced tools for broadcasters and audio operators. Among its priorities: expanding shared measurement capabilities and accelerating cloud-based solutions aimed at improving speed, workflow, and decision-making.
Her new role reports directly to Katz Media Group CEO Mark Gray. Gray said of Larkin, “Susan is widely respected across our field for her strategic insight and her ability to lead complex organizations with steadiness and purpose. RCS Worldwide is already a powerhouse, and her leadership will build on that strength in meaningful ways. She sees the full arc of where audio, data, and broadcast technology are headed, and the broader landscape will benefit from her perspective.”
Larkin added, “RCS Worldwide sits at the intersection of creation, intelligence, analytics, and operations—a place where we can meaningfully expand what’s possible for our partners. I’m motivated by the opportunity to bring these capabilities together in ways that deliver clarity, smarter decisions, and stronger business outcomes. This organization has shaped the industry for decades, and I’m honored to help lead its next chapter—one defined by connection, innovation, and measurable impact.”.
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Spotify has made another round of staffing changes inside its podcast division, trimming a small portion of its workforce as the company continues refining its long-term audio and video strategy.
According to Front Office Sports, roughly 15 employees were impacted by the layoffs, representing about 3% of Spotify’s overall staff. While modest in scale compared to previous cuts, the move still touched high-profile areas of the company’s content operation, including The Ringer.
Multiple employees associated with the platform, which Bill Simmons launched in 2016 before selling it to Spotify four years later, confirmed their departures publicly.
Among them was pop culture writer Miles Surrey, who shared that his tenure with the outlet spanned more than eight years and included a significant volume of published work that helped shape the site’s voice and identity.
“It was a rewarding eight and a half years,” wrote Surrey via X. “I’m proud to have literally written the most articles in the site’s history. I’d love to keep writing about pop culture elsewhere.”
Another longtime contributor, Andrew Gruttadaro, also announced his exit after nearly a decade with the company. His work ranged from in-depth profiles to editorial initiatives that often served as tentpole content for the brand.
“It’s impossible to sum up nine years in a tweet,” wrote Gruttadaro. “I worked on so many things—profiles, theme weeks, special projects—that I am incredibly proud of.”
The latest moves follow a similar round of cuts within the podcast division in mid-2025, when approximately the same number of employees were affected. Programming changes have accompanied the staffing shifts. According to Variety, The Ringer is winding down its New York-based sports podcast hosted by John Jastremski as well. Front Office Sports is reporting Jastremski’s contract at The Ringer is expiring and will not be renewed. He will host his own podcast as he figures out next steps.
Last week, Chicago-based host Jason Goff confirmed the conclusion of his show as well.
Well, sadly it looks like it's my turn to do one of these tweets: I was laid off by The Ringer today.
It's impossible to sum up nine years in a tweet but: I worked on so many things—profiles, theme weeks, special projects—that I am incredibly proud of.
It was a rewarding eight and a half years and I’m proud to have literally written the most articles in the site’s history. I’d love to keep writing about pop culture elsewhere — drop me a line: msurrey2 at gmail
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.
Chuck Todd is leaning further into the sports media space, and this time he is bringing a veteran voice with him in an effort to carve out a unique lane in the crowded podcast landscape.
The former moderator of Meet the Press has partnered with longtime journalist J.A. Adande to launch a new podcast titled Dynastic. A project designed to explore how iconic teams evolve into enduring sports institutions while also examining the cultural and business decisions that shape them along the way.
Rather than focusing on game results or daily headlines, the show aims to unpack the long arcs behind sustained success.
The podcast begins with deep dives into franchises like the Los Angeles Dodgers and the Pittsburgh Steelers. Early episodes examine stadium development strategies, roster construction, and media influence in shaping brand identity across generations.
The podcast debuts tomorrow and will be distributed by iHeartMedia along with other major platforms. Signaling a broad rollout strategy that reflects the partners’ belief in the concept’s mainstream appeal, especially as audiences continue to seek out deeper, more flexible on-demand content experiences.
Todd tells Variety the idea grew from a desire to tell stories that go beyond the field, noting that while fans naturally gravitate toward what happens during games, the larger narratives surrounding franchises often remain underexplored despite offering equally compelling insights into leadership, innovation and long-term vision.
That philosophy extends to the show’s editorial independence, which Todd said will remain intact throughout its run. The team has no formal ties to the organizations it covers and no obligation to shape narratives through a team-friendly lens or secure stakeholder cooperation.
Joining Todd and Adande behind the scenes is executive producer Steve Hull, a media veteran whose background includes leadership roles in regional publishing and at Atlantic Media, adding another layer of experience to a project that blends journalism, storytelling and business analysis.
Adande, who now serves as director of sports journalism at Northwestern University’s Medill School, brings decades of reporting and on-air experience to the partnership. He acknowledged that while the show will continue to evolve, there is already a shared professional foundation that allows for thoughtful collaboration without friction.
For Todd, the venture also represents a continuation of his broader push into independent and digital-first media following his departure from NBC News.
Chuck Todd, J.A. Adande Launch 'Dynastic' Podcast Devoted to Stories of Fabled Sports Franchises https://t.co/QQtpq6KIAb
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