The news broke this week, and it didn’t take long to get the industry talking. Starting June 1, The Breakfast Club, the iHeartMedia morning powerhouse (radio station concert pun intended) co-hosted by Charlamagne Tha God, DJ Envy, and Jess Hilarious, will stream live on Netflix every weekday. The show will become the streamer’s first daily live program, airing at 6AM EST for nearly three hours of uninterrupted programming.
Netflix’s stream will include exclusive bonus content in place of the radio broadcast’s commercial breaks. The radio simulcast continues on more than 100 syndicated stations and the iHeartRadio app. With all audio rights retained by iHeartMedia.
On paper, it sounds like a win for everyone. But when talking to my radio buds, not everyone is celebrating.
Two Programmers, Two Very Different Reactions
I spoke with two programmers who carry The Breakfast Club on their stations, and they couldn’t be further apart in their thinking.
One told me he’s “annoyed.” Not angry, not panicked — but annoyed. And that’s actually the more telling reaction. Annoyed is what you feel when something isn’t catastrophic but is still wrong. His concern is real: if a listener can watch the show on Netflix — uninterrupted, with bonus content, on a platform they’re already paying for — why does he tune into the radio station? What does the local affiliate offer that Netflix doesn’t? That’s a question that programmers running syndicated shows have been quietly wrestling with for years, and this deal just put it in neon lights.
The other programmer I spoke with had a completely different take. “You have to reach people everywhere,” he said, “and the live stream does that.” He pushed it further: “Anytime the iHeart logo can be in front of someone’s face, it’s a win for radio.” It’s a reasonable argument. Brand ubiquity matters. The more people who see iHeart attached to a major cultural moment — and The Breakfast Club is very much that — the more the brand stays relevant in a media world that is not waiting for radio to catch up.
Both perspectives have merit. But I’d argue the tension between them reveals something important about where radio stands right now.
The Case for Concern
The programmer who’s annoyed is thinking locally. He’s thinking about his market, his ratings, his listeners, and whether his station gets credit for the audience that’s now watching on Netflix instead of tuning in. Those are legitimate concerns.
Nielsen measures radio listening, not Netflix viewing. So if a 28-year-old in Atlanta watches The Breakfast Club on her TV every morning but never touches the FM dial, that programmer gets nothing from it — no cume, no ratings, no ad revenue. The show wins. The network wins. The local station? It’s complicated.
The Case for Optimism
The programmer who sees it as a win is thinking about the big picture — and he’s not wrong to do so. Netflix bringing The Breakfast Club into living rooms globally is a legitimacy move. iHeart Chairman and CEO Bob Pittman framed it as “expanding the reach of our biggest brands while giving audiences entirely new ways to experience them.”
That’s the corporate line, sure, but it’s also true. The Breakfast Club built its brand on radio. Now it’s using that brand equity to plant a flag on the world’s largest streaming platform. That’s not radio dying — that’s radio-born content evolving.
A longtime iHeartMedia personality, who shall not be named, is also optimistic, saying “it fits right into how people star their day. You throw the TV on while you’re waking up and getting ready at home, and then as soon as you walk out the door, you just switch it over to the car radio to keep listening. Plus, seeing a massive powerhouse like Netflix team up with iHeart for their first ever daily live show says everything you need to know about how huge radio still is. It proves that even the biggest streaming giants know they can’t replicate the daily habit and culture pull of broadcast radio.”
The Real Question Radio Has to Answer
The deeper question isn’t really about The Breakfast Club at all. It’s about what role terrestrial radio stations play when the content they’re carrying is simultaneously available — and frankly, better packaged — somewhere else. Local programmers have to offer something Netflix can’t: local connection, local music, local personality, local relevance.
If a station is just a pipe delivering syndicated content and hoping listeners don’t notice it’s also on a screen in their living room, that’s a problem that predates this deal and won’t be solved by worrying about it.
A Milestone, But for Whom?
Former HOT 97 and Power 106 executive Damion “Damizza” Young shared his thoughts on Instagram saying “for all you ‘radio is dead’ people, one of the biggest streaming companies on earth just said ‘daily live conversation still matters’. And peep the chess move, Netflix isn’t just airing the radio feed, they’re stripping commercials and replacing them with exclusive behind the scenes content, bonus segments, extended convos.”
What iHeart and Netflix have pulled off here is a genuine milestone. Charlamagne himself signed a five-year, $200 million deal with iHeartMedia — a signal that the company is betting big on audio-first talent crossing into video and streaming. That bet may pay off handsomely for iHeart at the corporate level. Whether it pays off for the local affiliate is a different conversation.
Survival vs. Thriving
Radio has survived television, the internet, satellite, and streaming music. It will survive The Breakfast Club on Netflix, too. But survival and thriving aren’t the same thing.
The programmers who figure out what they uniquely offer their local audiences will be fine. The ones who are just annoyed without adapting? That’s where it gets harder.
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.
When the Supreme Court overturned PASPA in 2018, most of the media industry treated it as a story about gambling. Seven years in, it has become increasingly clear that it was just as much a story about broadcasting. The legalization of sports betting across more than 35 states has fundamentally changed how sports radio, regional sports networks and digital sports media make money, allocate inventory, and approach audience engagement.
I have spent the past few years watching this play out from the inside and the pace of change has surprised even people who expected it. What started as a few sportsbook ad spots during evening drive has turned into something much more structural.
Sportsbooks are now among the largest advertisers in sports media. The integration of betting content into editorial coverage has become routine and the business models of entire networks have shifted to account for the new revenue stream.
The advertising boom that changed the math
In the first three years after legalization, sportsbook advertising spend in the United States grew from a rounding error to one of the largest ad categories in sports media. DraftKings, FanDuel, BetMGM, Caesars – and a handful of smaller operators – collectively spent more than a billion dollars annually on broadcast and digital ads at the peak. With sports radio capturing a meaningful slice of that.
For station groups like Audacy, iHeart and Bonneville, the timing was a lifeline. Traditional sports radio advertisers, particularly automotive and quick-service restaurants, had been pulling back on terrestrial radio spend for years. Sportsbook money filled that gap and then some, particularly in football markets where the cross-promotional value was obvious.
The market has matured since then. Sportsbook spend has consolidated as DraftKings and FanDuel have pulled away from the chasing pack. And the days of every operator throwing money at every market are over. But the baseline has reset permanently. Sportsbooks are now a structural revenue category in sports media, not a temporary boom.
Editorial integration and the credibility question
The harder question for sports media operators has been how to integrate betting content without compromising editorial credibility. Some have leaned in fully, building dedicated betting podcasts, daily picks segments or betting-focused shoulder programming. Others have kept a more cautious line, treating betting coverage as a separate vertical rather than embedding it across their flagship programming.
When discussing this subject with Ziv Chen, author at Casino.com, he had the viewpoint that the operators succeeding in the long run are the ones who treat betting integration as an editorial discipline rather than a sales channel. His observation matches what I have heard from program directors across multiple markets.
The shows that have built durable audiences around betting content tend to share a few traits: they treat the audience as informed adults, they are transparent about the limits of their predictive power, and they invest in genuine analytical depth rather than empty hype.
The stations that got this wrong early on, treating every segment as a pitch for the latest sportsbook promo, learned quickly that listeners tune out the moment they sense they are being sold to. The ones that found the right balance now have some of the most engaged audiences in the format.
Regulatory risk is the underappreciated story
The other dimension that doesn’t get enough attention is regulatory risk. State-level gambling regulators have been increasingly active in scrutinizing how sports betting is marketed and discussed in the media. Ohio, Massachusetts and New York have all taken action against operators or broadcasters for promotional content that crossed lines that did not exist five years ago.
For sports media companies, this creates a compliance burden that did not exist before. Disclaimers, age-gating, responsible gambling messaging and the line between editorial commentary and promotional content all have to be managed actively. Most of the larger station groups have invested in dedicated compliance staffing for their betting content, which would have been unimaginable a decade ago.
The federal picture remains less clear. There have been periodic discussions about national-level standards for sports betting advertising, similar to the rules that exist for alcohol or pharmaceutical ads, but no concrete legislation has moved. Most operators and media companies I speak with expect that to change at some point in the next few years, though no one is sure exactly when or in what form.
What I am watching for the rest of 2026
A few things are at the top of my list. First, the consolidation question. The sportsbook market has effectively become a two-horse race between DraftKings and FanDuel in most states, which has implications for how much ad spend they need to deploy to maintain share. If that spending drops, sports media revenue planning will need to adjust quickly.
Second, the streaming layer. Amazon Prime Video’s NFL coverage and Netflix’s growing live sports footprint are introducing new venues for integrated betting content – and the rules around that are still being written in real time. Watching how those platforms handle the integration will tell us a lot about where the broader industry is heading.
Third, the responsible gambling pressure. The volume of public concern about problem gambling rates, particularly among young men, has grown significantly over the past two years. Whether that translates into tighter regulation, voluntary industry standards, or a public relations problem that operators eventually take seriously, the issue is not going away.
Sports media has spent the better part of a decade adjusting to the post-PASPA reality. The next phase is going to be about which operators, networks and shows actually built sustainable models on top of the new economics. But also a watchlist on the ones that were just riding the initial wave.
About Casino.com
Casino.com is a comparison site dedicated to helping players make informed decisions in the online casino space. The platform provides in-depth reviews, up-to-date bonus offers and expert guides to help users find casino sites that suit their needs. With a focus on transparency and player-first content, they aim to simplify the process of choosing a trusted casino in a crowded market. They’ve built up a deep editorial team covering casino strategy, game reviews and regulatory developments, including contributions from veteran iGaming writers like Ziv Chen.
If you or someone you know has a gambling problem, help is available. Call 1-800-GAMBLER (National Council on Problem Gambling) for confidential support, available 24 hours a day.
ABC News leads in the ratings in the nightly newscast category with World News Tonight. It also leads in the Sunday political affairs arena with This Week with George Stephanopoulos.
What We Know: The latest Nielsen Media Research figures tell the story for ABC. This Week with George Stephanopoulos grew 7% from the prior week. Performance in the key Adults 25-54 demographic also climbed, rising 15% week to week. The momentum extends beyond a single week. For the seventh consecutive Sunday, the program grew its total viewer audience year over year — up 3% compared to last year. Currently, the show ranks first in total viewers for the fifth consecutive year, averaging 2.8 million. That gap over Meet the Press is now the widest it’s been in 30 years, since the 1995-1996 season.
What The Numbers Show:
Program
Total Viewers
Adults 25-54
This Week with George Stephanopoulos
2.5 Million
338,000
Meet the Press
2.2 Million
405,000
Face the Nation
2.2 Million
299,000
Fox News Sunday
886,000
173,000
What Remains Unclear: It’s not yet clear how long the current streak can sustain its trajectory heading into the summer months, when Sunday morning viewership traditionally softens. Whether any of the competing programs make programming adjustments in response to ABC’s dominance also remains to be seen.
What It Means: The performance by the George Stephanopoulos-led show has increased impressively in recent months. Since the turn of the calendar, the program has seen a steady climb in the total viewership category. The race remains tight between ABC News, CBS News, and NBC News in both total viewers and the key demographic.
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.
Today is Dave Ryan’s final broadcast. We reported his retirement earlier this month. And now, after 33 years at iHeartMedia’s 101.3 KDWB, a Twin Cities legend signed off for good.
What We Know: Hubbard Radio’s KS95 Morning Show didn’t sit on the sidelines. Host Crisco — who got his start in radio interning for Ryan — welcomed his former mentor onto the air for a live call-in conversation this morning. Additionally, KS95 launched a Twin Cities billboard congratulating Ryan on behalf of the KS95 Morning Show. The timing is sharp. KDWB simultaneously announced that afternoon duo Falen & Colt will take over mornings starting Tuesday, May 26.
What They Said: Crisco and Ryan can be seen chatting on the show this morning below:
What Remains Unclear: It’s unclear whether the billboard was coordinated with Ryan in advance or came as a surprise. Furthermore, how listeners respond to Falen & Colt in mornings remains to be seen. The transition at KDWB is significant, but the long-term ratings impact won’t materialize overnight.
What It Means: This is smart competitive strategy. KS95 honored a market legend while simultaneously spotlighting its own show — and its personal connection to Ryan’s legacy. Crisco’s history with Ryan gives the moment authenticity that could not otherwise be manufactured. Consequently, KS95 earns goodwill with listeners and positions itself as the market’s morning show worth paying attention to — right as its biggest competitor restarts from scratch.
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 CBS News Radio ends on Friday, we now know who will anchor the final broadcasts heard on the network.
What We Know: Friday marks the conclusion of the CBS News Radio network. After announcing it would cease operations earlier this year, the network chose May 22nd as the final on-air date. It concludes 99 years of existence. Anchor Christopher Cruise will anchor the final broadcast at 11:31 PM ET on Friday evening. That newscast will be focused on the legacy and history of the network. Cruise will also anchor the final top-of-the-hour newscast at 11:00 PM ET.
What They Said: “I’ve been here almost five years. But some people have been here 30 and 40 years. When I lived in North Carolina, I had a plaque on my office wall that said, ‘I’m not from the South, but I got here as soon as I could.’ And I feel the same way about CBS News Radio. I tried all my life to get there, and finally made it at age 62… I just never thought it would end.” -Christopher Cruise
What Remains Unclear: Which current or former CBS News Radio personnel, if any, will join Cruise on the final newscast. Current and former CBS News Radio staffers will assemble at the network’s broadcast center on Friday evening to commemorate the end of the network, several sources told Barrett Media.
What It Means: Cruise faces the unenviable task of delivering the network’s final sign-off. A room full of people who deeply love and appreciate the network’s history will only heighten the emotion surrounding the moment. Many observers are eager to hear how the network chooses to close out its operations.
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.
Universal Music Group (UMG) and TikTok have a new long-term agreement. The deal expands their partnership and takes direct aim at unauthorized AI-generated music.
What We Know: The companies signed a multi-year strategic licensing agreement, building on their May 2024 deal. That prior agreement had restored UMG’s full catalog to the platform. Under the new terms, both parties will expand marketing campaigns, boost e-commerce tools, and develop artist-centric resources. Additionally, the deal deepens collaboration around fan engagement and artist development on a global scale.
What They Said: Michael Nash, Executive Vice-President & Chief Digital Officer of Universal Music Group, said: “We’re proud of the pioneering work we’ve done with TikTok to create wide-ranging benefits for our artists and songwriters. With this new agreement, we look forward to driving innovative new fan experiences, while further improving social media monetization, and protecting and amplifying human artistry.”
Tracy Gardner, Global Head of Music Business Development at TikTok, said: “We’re excited to take our partnership with UMG to the next level, and build on the strong foundation we’ve already created together for artists, songwriters and fans. TikTok is a unique platform where music discovery, culture and fandom intersect, and this agreement will help create even more opportunities for artists and songwriters to engage audiences, grow their communities and achieve career success on a global scale.”
What Remains Unclear: Financial terms of the agreement have not been disclosed. Furthermore, the specific enforcement mechanism for removing AI-generated music remains undefined publicly. It is also unclear how attribution standards will actually be monitored at scale.
What It Means: This deal signals a sharper industry stance against unlicensed AI music. Notably, just one day prior, UMG and Spotify announced an AI remix tool for premium subscribers. Showing UMG is simultaneously monetizing AI while policing it. For artists, the outcome could mean better revenue visibility and stronger audience discovery tools. Ultimately, TikTok’s cultural influence makes this partnership one worth watching closely.
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.
Dave Ryan retired from 101.3 KDWB after 33 years. Falen Bonsett and Colt Parkey will take over Minneapolis mornings starting Tuesday, May 26.
What We Know: iHeartMedia made the move quickly and cleanly. Rather than searching outside, the station promoted its own afternoon duo straight to drive time. Falen originally co-hosted mornings with Ryan from 2012 until 2023, so the slot isn’t new territory for her. Colt joined her in afternoons in February 2024 after a stint at KHKS/Dallas.
What They Said: Falen didn’t hold back on the significance of the moment. “To lead mornings on such an iconic station and become the first woman to hold this role is incredibly special,” she said. iHeartMedia Minneapolis SVP of Programming Rich Davis added that replacing a legend isn’t easy — but the right person was already in the building.
What Remains Unclear: Producer and co-host Bailey Hess’s status is still unresolved. Meanwhile, Jenny Luttenberger stays in mornings alongside Falen and Colt, and Vont Leak moves to afternoons.
What It Means: This transition signals a smart, low-risk succession strategy. Instead of importing outside talent, iHeart built continuity from within — rewarding patience over flash. The move also reflects a common pathway developing across radio: grow talent in nights, season them in afternoons, then elevate them to AM drive when the moment is right. For Falen specifically, the promotion carries historic weight as KDWB’s first female morning host, proving the pipeline works on every level.
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.
Dirty Mo Media is heading west launching a new western themed vertical with a the new podcast This Cowboy Life. Dirty Mo Media is expanding beyond the racetrack. The company founded by Dale Earnhardt Jr is launching This Cowboy Life, a new podcast hosted by rodeo legends Jerome and Tiffany Davis, premiering June 24.
What We Know: The show kicks off with a three-part documentary series on the Davises’ journey. It then transitions into a weekly talk show covering the rodeo road, ranch life, and the Carolina Cowboys. Dirty Mo Media — already home to NASCAR-focused content — is using this launch to plant a flag in the western space. The show tapes at Davis Rodeo Ranch in Archdale, North Carolina.
What They Said: Dirty Mo Media President, Executive Producer Mike Davis: “There’s a tremendous overlap between NASCAR fans, rodeo fans, and people who simply appreciate real personalities. We don’t look at This Cowboy Life as a one-off project. We see it as an important first step in building a meaningful western vertical alongside voices and stories that genuinely connect with everyday people.”
What Remains Unclear: The depth of Dirty Mo Media’s western investment is still taking shape. With This Cowboy Life, it still is the lone outlier of the Dirty Mo Media catalog outside of racing content. Also the vertical currently does not have an official partnership with the PBR or any other organization.
What It Means: This launch signals a real strategic shift for Dirty Mo Media. Rather than staying in one lane, the company is chasing a broader, underserved audience. Recently, many content factories have been doing the same such as All The Smoke Productions (MLB) and Bussin’ With The Boys (NASCAR). It will be interesting if there is an audience for this type of content. The PBR was acquired in early 2025 by TKO Holdings. TKKO also oversees WWE, UFC, Zuffa Boxing among other properties. It could be a play if initial success is found through Dirty Mo Media that an expanded vertical may be possible.
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 is launching a new long-form digital conversation between two global icons. Zlatan x Brady: GOATS on GREATNESS drops ahead of this summer’s FIFA World Cup 2026 on Tuesday exclusively on the FOX Sports YouTube channel.
What We Know: FOX recorded an hour-plus sit-down between Tom Brady and newly signed studio analyst Zlatan Ibrahimović. The network will release the conversation in digital clips before posting the full discussion on social and YouTube next Tuesday. That date aligns with the U.S. Men’s National Team (USMNT) roster reveal. FOX continues expanding its World Cup content footprint as the exclusive English-language broadcaster, with Ibrahimović joining Thierry Henry and Alexi Lalas in the studio lineup.
What They Said: FOX Sports President Brad Zager to The Athletic: “The back and forth was absolutely engaging and teaching, understanding their mindsets of who made them them and what separates certain athletes from others.”
What Remains Unclear: Brady has no confirmed role in FOX’s actual World Cup match coverage yet. Nevertheless, James Corden’s late-night World Cup show on FOX could still feature him. Meanwhile, FOX continues building out its programming slate, so further announcements do remain possible. Additionally, Brady does hold a minority stake in Birmingham City, an English soccer club. Notably, he also was a featured guest as part of the World Cup Draw held on FOX Sports.
What It Means: FOX Sports continues their all in approach to the global tournament. The hour-long sit-down is very similar of what NBC Sports attempted with Michael Jordan this past season. However, it will be interesting to see if FOX works these clips into the programming during the tournament. FOX continues to treat Brady as far more than a broadcast analyst in the NFL. He’s a talent recruiter, a brand ambassador, and now a content driver. Making his record-setting contract with the network more an example for others to copy in the future.
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.
Nearly 100 years of broadcast history came to an end when CBS News Radio aired its final newscast. The network that shaped generations of journalists, provided affiliates across the country with a trusted top-of-the-hour product, and carried the legacy of Edward R. Murrow into the modern era simply closed its doors. Industry veterans felt the weight of the moment — but most of them didn’t stay there long. The more urgent conversation isn’t about what was lost. It’s about what happens next for news radio, who fills the void, and whether the format has the backbone to carry itself into whatever comes after.
The grief was real, though. “It has been the gold standard for radio news for almost a century and an organization I’ve been proud to have partnered with for so many decades,” said Ken Charles, Director of Branding and Content for 95.5 WSB. His frustration runs deeper than sentiment. “It’s not going away because it’s bad. It’s not going away because the world has changed and doesn’t want news from radio.”
Charles didn’t stop there. “It is going because shortsighted, non-journalist management hacks with no understanding of the medium are in control and don’t care,” he said. “It’s a cautionary tale — one that the CBS News brand, whether TV, digital, or whatever — will never recover from. It’s also a giant mistake people need to study and learn from because it’s being made in local markets, large and small, every day.”
Not everyone frames it as a failure of journalism, though. Others see CBS’s exit as a reflection of the streaming-first, subscription-driven restructuring consuming legacy media — one that says very little about the health of news radio itself.
A Business Decision, Not a Broadcast Failure
Lee Harris, Vice President of News for the Worldwide News Network, sees CBS’s retreat from radio as a symptom of a much larger industry-wide shift.
“The biggest suppliers of radio news are also in the television business,” he said. “And I think that’s the key to what’s happened with CBS.”
Harris points directly at the subscription-first mentality consuming media conglomerates. “They’re very subscription-focused,” he said. “Less interested in what we think of traditionally as broadcasting and having to chase ad dollars in a fractured ad marketplace when they can sell you a season of Dutton Ranch direct to the consumer.” The math simply doesn’t work in CBS’s favor anymore under that model. “No one’s going to subscribe for $10 a month for a top-of-the-hour radio newscast,” said Harris. “So it just doesn’t fit with their business model anymore.”
Dan Mason, former CBS Radio President and CEO, reinforced the point with characteristic directness. “I don’t believe this is a news issue but more of a radio as a medium issue,” he said. “It is pretty obvious CBS sees its future in a digital world and not a broadcast world.”
Scott Herman, former CBS Radio Chief Operating Officer, echoed that read while identifying the one genuine miscalculation in the whole exit. “There really is no great time to end a tradition that lasted nearly 100 years, but I wouldn’t say this is a business mistake,” he said. “The only mistake, in my opinion, is that CBS News Radio was the best marketing arm for CBS News on TV.” He went further. “You can run all the promos you want on the TV network, but it’s the reach of the radio stations that gave them unprecedented promotion,” said Herman.
Phil Boyce, Senior Vice President of Spoken Word Formats for Salem Media, chose to focus on opportunity rather than loss. “I think it’s sad and unfortunate that we’re losing CBS,” he said. “And of course, we welcome any of those stations that want to come over. We’ve got a very good top- and bottom-of-the-hour news product.”
What News Radio Still Has Going for It
Despite the hand-wringing, the evidence on the ground tells a more optimistic story. News radio isn’t dying — it’s clarifying. Stations that commit to local service and live, relevant programming continue to thrive. The format’s defenders aren’t just making an emotional case. They’re pointing to ratings and revenue.
Boyce makes the business case plainly. “I think WTOP is still the number one revenue-generating radio station in the nation, and they are an all-news behemoth,” he said. “So you can make a lot of money on it.” He noted the format’s built-in sales advantages. “There are so many sales vehicles and promotional opportunities in an all-news station where you can sell traffic and weather and sports and news and all kinds of other things that a lot of radio stations can’t really sell,” said Boyce.
Scott Herman frames it in terms of structural uniqueness. “News radio is not only healthy, it’s one of the two best radio formats that exist,” he said. “These two formats are the only ones that have exclusive live, local programming that can’t be duplicated by satellite or syndication. It’s no surprise that all-news, news/talk, and sports stations are consistently among the highest billing and the highest rated stations across the country.”
Chris Berry, Executive Vice President of News, Talk, and Sports for iHeartMedia, makes the practical case for radio’s irreplaceable role in breaking news. “Nobody can cover a breaking news story better than a radio station can,” he said. “We give it to you in bits and pieces the same way that it comes into a newsroom.” His confidence in the medium isn’t nostalgia. It’s a challenge to lean into what makes radio genuinely different. “Breaking news is the most important thing that any radio station can do,” said Berry. “It’s immediate, people have the technology, they know how to use it, and it’s ubiquitous.”
Harris points to the durability of the top-of-the-hour structure as evidence of the format’s staying power. “The idea that at the top of the hour we pause and find out what’s going on in the world is pretty embedded into a lot of formats — not just news talk formats,” he said. Station brands like 1010 WINS, WTOP, WSB, WLW, and KFI remain substantial players because they’ve built that expectation into their identity.
Harvey Nagler, former CBS Radio Vice President of News, worries about what happens if the institutional infrastructure behind those broadcasts begins to erode. “I’d be naive to think affiliates are just not going to have a network news service,” he said. “I think it’s really important to have a news service that covers the world and has reporters all over the world to tell people what’s really going on.” He believes listeners in the smallest cities still need someone covering the rest of the world for them. “Things that happen in far-off places matter to the person in the smallest cities in our country,” said Nagler.
The Challenges Ahead
The optimism comes with some hard honesty. Several voices in this conversation acknowledge that news radio faces real structural obstacles — and surviving them requires more than holding onto what’s always worked.
Craig Swagler, former CBS Audio Network Vice President and General Manager, draws a distinction between the local news health he sees across the country and what the loss of a network entity means for the broader information ecosystem. “The network state is really where the impact that CBS has,” he said. “There’s one less option for people to turn to in what’s going on in the world and the globe, and it just collapses that. That’s not a good thing.”
Swagler’s concern extends well beyond sentiment. “We continue to see the collapse of ownership across media organizations,” he said. “Many of those options are becoming less and less, and that’s not good for the consumer. It’s not good for business. Competition thrives innovation.” He wonders aloud what fewer players means for the format’s evolution. “As this becomes fewer options, there’s also the challenge of what will the innovation look like?” said Swagler.
Berry names the trust challenge head-on. “The internet has no editor,” he said, “and because of that, people realize that a lot of the content they see has to be double checked.” That’s actually an argument in radio’s favor — but only if stations hold the line. “As long as we provide high-quality, dependable, and reliable content, we will continue to have a place in the diet of the American news consumer,” said Berry.
Boyce identifies a credibility erosion he’s heard about directly from affiliates who’ve changed network partners. “The only credibility issue I have seen has to do with certain network newscasts becoming a bit more woke than the audience,” he said. “We have seen that over several years.” Stations migrated away from services they once trusted because the product drifted. “I think most listeners want it played straight down the middle,” said Boyce. “Just tell me the truth. Tell me the facts. Don’t spin it. Don’t make me feel uncomfortable about my own views and beliefs every time I hear a newscast.”
Harris also surfaces a persistent business friction that doesn’t get enough attention. “IP-delivered programming is much more attributable to advertisers,” he said. “Over-the-air just isn’t that.” For advertisers demanding household-level metrics, terrestrial radio still can’t compete with digital on measurability. That pressure isn’t going away anytime soon.
Jennifer Brown, former CBS News Radio Executive Editor, puts her finger on something even more fundamental. She says theaudience fragmentation challenge cuts across all legacy media. “I am scared even for journalism, because everything is very siloed in bubbles now,” she said. “Everybody lives in their own little bubbles. They have their news sources that reinforce their ideas. And we’re getting further and further from the actual truth of it all.”
Where the Opportunity Lives
For all the challenges, the people actually doing the work of building news radio’s next chapter sound genuinely bullish. They’re not waiting for the format to rescue itself. They’re signing affiliates, investing in infrastructure, and thinking creatively about how content travels across platforms.
John Sylvester, Senior Vice President of Fox News Audio, sees the hourly newscast as a centerpiece product that affiliate demand simply hasn’t weakened. “Our news product is amazing,” he said. “We’re servicing our entire syndicated portfolio, servicing over 3,200 affiliations.” The infrastructure backing it is substantial. “We still have over 100 audio professionals here at 1211,” said Sylvester. “We still have dedicated bureaus in Los Angeles, Chicago, Miami, London, and Washington, DC. And we are all in on audio.”
The Fox News infrastructure powering his network’s radio content represents the kind of cross-platform synergy that gives affiliates a real competitive edge. “Having the power of Fox News Media and having the Fox News brand heard across 3,200 affiliations across the country is a pretty amazing accomplishment from our team,” said Sylvester. “Leadership here at Fox is very supportive of audio.”
Katie den Daas, Senior Vice President of Newsgathering for ABC News, describes an affiliate market that’s hungry for exactly the kind of partnership CBS’s exit created.
“We’ve got a lot of stations who now are looking for a partner to help provide that domestic and international news that complements their local news so well,” she said. “That’s definitely the biggest opportunity for us right now.” Her network’s momentum reflects that demand. “At this point, we’re connected to well over 200 stations and counting,” said den Daas.
She also points to something genuinely encouraging for the long-term health of the audio news business. Quality journalism, she says, travels across platforms without losing its value.
“Good reporting is good reporting regardless of what platform it starts on and what other platforms it goes to,” she said. ABC’s experience adapting its Murrow Award-winning podcast Start Here into a weekend broadcast illustrates the point vividly. “One of our stations is airing it six to nine times on the weekend because their audiences love it,” said den Daas. “I just think there are tons of opportunity.”
Boyce frames the value proposition in terms that station programmers understand. “We still see in our research that breaking news … is the most important thing listeners want from us,” he said. “So we’ve got to do a good job making sure we fill that want and need.” His confidence in the top-of-hour structure as a programming anchor isn’t sentimental. It’s backed by the bottom line. “It’s very profitable for us,” said Boyce. “I would have thought CBS could have made it profitable too. But if they didn’t, we’ll do the best we can to pick it up where they left off.”
Berry crystallizes what makes radio’s news proposition different from every other platform — and it’s something technology still can’t easily replicate. “You cannot get timely updates on your cell phone about breaking weather situations,” he said. “It’s critical because it’s the one story that affects everyone.” Radio’s companion nature — the fact that it reaches people in the car, at the office, or during a morning routine — still gives it a lane that screens haven’t stolen.
Harris puts the CBS situation in the clearest possible terms for anyone still wondering what it means. “I think CBS got out of the business not because there was no need for the product,” he said. “The product didn’t align with their business model. That is the reason.”
He wants the industry to understand the distinction. “They didn’t get out of it because it was not a good business or not something the public needed,” said Harris.
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.