Nielsen data reveals a major opportunity for advertisers as the 2026 FIFA World Cup approaches. Soccer fans over-index on radio and podcast consumption compared to the general population.
What We Know: The 2026 FIFA World Cup kicks off in June across 11 U.S. host cities. According to Nielsen, 77% of U.S. soccer fans use radio and podcasts for soccer content. That figure significantly over-indexes the general population. Podcast consumption continues to drive audio engagement, especially around major sports calendar events — Spotify data shows a 358% spike in sports podcast listening in the days following big competitions.
What They Said:Nielsen’s report makes the brand opportunity clear. “For a growing share of fans, the World Cup isn’t just watched, it’s listened to. In a tournament defined by global narratives and cultural pride, the brands that win may be the ones that show up where fans are listening.”
What Remains Unclear: It’s still uncertain how many brands will meaningfully redirect ad spend towards audio. However, another recent study notes that podcasts are emerging as a key part of advertising strategy surrounding the global sporting event. Millennials are 41% more likely to consume World Cup content via podcasts than any other medium. Whether advertisers act boldly on that signal remains to be seen.
What It Means: This data presents a clear opening for audio media and advertising dollars. The World Cup isn’t comparable to any other global sporting event maybe outside the Olympic Games. This opportunity makes sense as the World Cup boosts more teams than ever before this year, and will be hosted in three separate countries expanding reach to local and national audiences all together. Brands that ignore audio this summer may be leaving a significant and measurable audience behind.
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.
Kobalt Music Publishing has promoted Leslie Ahrens to Managing Director and EVP, Creative, Latin America. The move follows the departure of division architect Nestor Casonu after 11 years.
What We Know: Ahrens steps into an expanded role with both creative and operational oversight. She now reports directly to President and CCO Jeannette Perez. Her roster includes marquee Latin acts like Karol G, Ovy On The Drums, and Arcángel. Kobalt also promoted May-Ling Mediavilla to VP/General Manager LatAm and Lea Moussa to VP, Business Development LatAm.
What They Said: President and CCO of Kobalt Jeannette Perez made clear this promotion was earned. “Leslie is a powerhouse whose deep-rooted relationships and fierce advocacy for songwriters have been foundational to our success in the region. This promotion is a natural evolution of her leadership; we have the utmost trust in her ability to marry creative excellence with operational precision. As she takes the helm as managing director & EVP, I am confident that Leslie’s vision will propel our Latin American business to even greater heights, further solidifying Kobalt’s position as the premier home for songwriters around the world.”
What Remains Unclear: Casonu’s exit raises natural questions about continuity. No details about his successor strategy or transition timeline have been shared. It’s also unclear whether Kobalt plans further structural changes across other regional divisions.
What It Means: Ahrens has been building toward this moment since joining Kobalt Music’s Miami office in 2014. She earned promotions to VP in 2016 and SVP in 2020, so this elevation feels earned. For Latin music executives watching closely, her rise signals that Kobalt Music remains committed to investing deeply in the region. Simply put, this is a significant leadership bet on one of music’s fastest-growing markets.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
The Barrett Media Audio Summit takes place in exactly fifty six days in New York City. Tickets to join us at the SVA Theatre are available here. For hotel room reservations and our full list of speakers, go here. Those looking to attend while keeping expenses down are encouraged to contact iMar Entertainment here. Barter opportunities are available.
Closing out all three days of the Summit will be the Premiere Networks awards ceremony. Each year, we honor some of the best broadcasters in the business including talent, programmers, executives and legends. Though we all enjoy competing and finding ways elevate our brands and businesses, it’s necessary to take time to highlight great work too. Thank you to Julie Talbott, Peter Trippi and the Premiere Networks team for supporting our mission to do so.
Today, we reveal the 2026 recipient of the Gold Standard in Business Award. This award gets presented on Tuesday, June 30th at the end of the event. Prior winners of this award have included WTOP’s Joel Oxley, and Premiere Networks President Julie Talbott.
The purpose of this award is to recognize leaders who have played a pivotal role in helping their brands and companies grow revenue, ratings, digital impact, reach, and partnerships. WABC Radio and Red Apple Media have excelled in all five of those categories, which is why it’s an easy decision to name Red Apple Media and WABC Radio President, Chad Lopez, this year’s recipient.
An Accomplished and Respected Executive
Chad Lopez has spent over 25 years in broadcast and digital media. Under his leadership, WABC Radio has achieved incredible growth in New York City. He has worked alongside Red Apple Media Owner and CEO John Catsimatidis since March 2020, reviving WABC Radio as one of America’s most powerful News/Talk stations. Lopez has overseen the launch of the Red Apple Audio Network, extending the company’s reach beyond the big apple. He plans to do even more of it with the recently announced launch of The Worldwide News Network.
One of the most important decisions for Red Apple Media came early on when Lopez was empowered to reduce commercial inventory from 21 minutes to 6-8 minutes. Since then, ratings and revenue have risen. The company has acquired additional stations such as WLIR-FM, WRCR-AM, WLID-AM and two FM translators to further expand WABC’s presence across New York state. Red Apple has also established itself nationally, featuring programming on more than 330 affiliates across the country.
Prior to joining Red Apple Media, Lopez served as Vice President of Cumulus Media’s New York cluster from 2015-2020. His career includes a nearly 14-year run with CBS Radio New York. While there, Lopez rose from an Account Executive to General Sales Manager of 1010 WINS, WCBS 880 AM and the Yankees Radio Network. He got his radio start as an Account Executive in November 2000 at Univision’s WADO-AM.
In Their Own Words
“I am honored to be recognized by Barrett Media, but this is a team win,” said Chad Lopez, President Red Apple Media and WABC Radio. “We took a legacy brand, stayed focused on execution, and built real momentum across broadcast, digital, and events. When you stay disciplined on content, distribution, and relationships, results follow. We’re just getting started.”
“Red Apple Media and WABC Radio are enjoying the rewards for investing in quality talent and content” explained Barrett Media founder and CEO Jason Barrett. “A strong air staff occupies the airwaves. Digital strategy and execution is sound. Revenue is strong. Expansion on the national stage continues including yesterday’s decision to move WABC into news on a global scale, with Lee Harris leading it. John Catsimatidis earns a lot of credit for WABC’s growth. All of it is well deserved. But Chad Lopez is a critical part of it too. His passion, relationships, and skill as a leader are critical to WABC’s success. We’re thrilled to recognize him for the outstanding results he’s delivered working with John to return WABC to glory.”
The Premiere Networks Awards ceremony features three individual awards at each day’s show. The Gold Standard in Programming, Business, and Content is featured at the News Summit on 6/30. Our Sports Summit on 7/1 features the Jeff Smulyan Award, the Mark Chernoff Award, and the Lifetime Achievement Award. And our Music conference will have three new honors revealed in the near future.
We hope to see you in New York City this summer!
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.
Every Tuesday we speak with a different expert or leader from somewhere in the vast music industry. Label executives, artist managers, programmers, talent, artists, consultants, and beyond. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.
Today we sit down with a veteran from the label and artist side of the music industry: Tyson Haller. He is currently the SVP, Promotion & Artist Strategy at Shelter Music Group, working with a wide range of artists. Including newer acts like Dexter and the Moonrocks and Des Rocs to veterans like Godsmack, Joe Perry, and ZZ Top.
So, let’s dive in.
Today’s Spiderweb
Keith: Artist promotion has become more like navigating a spiderweb than the linear course it once was. How has the daily role of “promotion” changed over the past few years? And what new benchmarks for success are must-hits that weren’t in place just a few years ago?
Tyson: The definition of Promotion has changed for me just from the fact that I am now on the management side of the table. While the traditional sense of the word still holds true, like getting and growing airplay and promoting single and album releases, it has become much more about the artist and less about a release. For one, bands and management make most of their money from ticket sales and merch sold at concerts, so right off the bat, promoting tours is a top priority. And radio is great for that! So giving radio access to the band for interviews, meet and greets, sessions and stuff like that is just as important as when I am working a single up the charts.
It’s just that now, I am trying to put those opportunities together, even when there is no album to promote. It could be from a heritage band that hasn’t had a record in years and doesn’t plan to have one any time soon. Or even more importantly, it could be with a band that doesn’t even have a label, but continues to tour. Artists want to stay relevant and keep a high profile, and continuing to work with radio with or without a new single, helps them do that.
When to Pour on the Gas
Keith: When you’re deciding how hard to push a record, what’s the first sign that tells you to go all-in? What’s a signal that can be misleading and you trust the least?
Tyson: I don’t think that having low streaming numbers necessarily means you don’t have a radio hit. Oppositely, I don’t think that just having millions and millions of streams means that you do have a radio hit. There are tons of songs out there streaming millions that will not work on radio. Obviously, if I see an artist of ours with big streaming numbers, I am going to use that as part of the reason radio should play it, but the song also has to fit the station I am pitching to.
There are other things too that are in play to make a record worth playing. If a band is selling out shows in your market, but streaming is mediocre, it still may be worth playing their music. Same with Shazams. If people are taking the time to buy tickets with their hard earned money or taking out their phone to shazam a song, it means there is a positive reaction to the music in the market.
What Does it Mean to “Make It” Today?
Keith: It used to be simple — release a record, gain a hit or two at radio or MTV, sell records for cash flow, the artist is soon in arenas, and they’ve “made it.” It’s very different today. What’s your definition of “making it” in 2026?
Tyson: I think the level of “making it” differs for every artist, but I would say that if you are able to make a living from purely being a musician, then you’ve made it. That’s a tough hill to climb, and that success doesn’t have to come from just one thing. It can come from streaming, ticket sales, merch, whatever. Of course, some artists consider having #1 records or playing Madison Square Garden as examples of making it. And those are big events too.
But it’s hard making a living as an artist, so if you can do that, then you’re in an exclusive club. I will say, there are lot of bands out there right now that feel because they get a lot of likes on a few posts that they’ve made it. We’ve managed some bands like that. And I don’t want to discount those accomplishments, because you do definitely want that fan engagement, but sometimes having just success on socials clouds an artist’s judgement, to thinking they don’t need to do any more work than that.
The Artist’s Truth Teller
Keith: In your role, you have to be an artist’s advocate and also a truth teller. Sometimes an artist’s vision just won’t work. How do you navigate changing an artist’s course when their vision isn’t going to add up in the long run?
Tyson: I think the key is acknowledging the artist’s vision first and foremost, and then respectfully giving your professional opinion on the topic. If the artist strongly disagrees, I think sometimes you just need to move forward with their plan, because as management, we do technically work for the artist, but it is crucial to give your thoughts on what the outcome may be if they don’t take the advice.
Partnerships and Marketing
Keith: Artist partnerships with equipment makers or even tour sponsorships have been around forever. Shelter Music Group thrives on creating strategic partnerships that lead to both revenue and marketing. Tell us what a real partnership looks like and give a recent example that delivered results for all parties.
Tyson: Shelter has a great relationship with Danny Wimmer and are fortunate to have a deep presence in a lot of the festivals he puts together like Aftershock, Bourbon & Beyond, Louder Than Life, Sonic Temple and Welcome To Rockville. Music festivals are a big business and the fact that we have so many bands playing those events, it is great exposure in front of a very large audience. And it really helps build credibility and profile for a lot of our developing acts that would have no opportunity to play in front of such a large crowd at that stage in their career if it were not for those festivals. We’re really fortunate in that manner.
The Radio Reality
Keith: I know you’re a believer in radio but also see its challenges. Do you see the overall cultural influence of rock radio growing or shrinking? If you believe it’s shrinking, like some of your colleagues do, how can it get back to growing and becoming more of an influence?
Tyson: I actually think that Rock Radio is in a really good place right now! There are so many iconic rock stations that are winning in their market! A lot of the time beating both the Alternative and the Top 40. Take WMMR in Philly for example. It is consistently Top 5 in the market and sometimes even #1 12+. Same with KISW in Seattle; consistently Top 5 and ahead of the Alternative and the Top 40. There’s no Alt in Baltimore, but WIYY is killing it. WXTB in Tampa, too. It’s not even just Major Markets, WGRD in Grand Rapids is #2 in the market! KLAQ in El Paso, #3!
Listen, I love Alternative Radio as it’s a very important part of breaking new music, and there are some big and very successful Alt stations winning out there, but the #1 record on the Active Rock Chart often times has a bigger audience than the #1 record at Alternative. That wasn’t always the case. And Rock Radio sells concert tickets! Promoters know that and bands know that!
TikTok or Touring
Keith: I’ve met a lot of younger artists over the past 10 years that aren’t focused on touring at all. They believe the path of focus should be TikTok, IG, and getting on curated playlists. If you’re advising a younger talent, of course you’d want both, but which is more important — emphasis on digital presence or getting out on the road?
Tyson: I’m going to keep this one simple, just to make a point. Touring. You’re not selling out MSG from TikTok.
What’s Harder
Keith: In 2026, what’s harder — breaking a new artist or keeping a decades-old artist relevant, and why?
Tyson: Breaking a new artist is always difficult. There are so many things that need to go right. So often timing and luck are a big part of it. Currently with new artists, a big challenge is breaking through all the noise and beating the algorithm in social media. What is the best content to create and how do we promote that content to attract the most eyeballs? Oh and of course, the song needs to be a smash too or none of it matters.
On the other point, there is a lot of nostalgia right now that is fueling a great deal of renewed interest in older bands. Creed is the most obvious example. But we are also seeing it with Lit, Fuel, Hinder and others! The older generation loves hearing songs from their past, while young kids are simultaneously finding these hits for the first time on social media or DSP’s like they were new. It’s fueling a whole new ticket buyer and building new social media followers all at once.
The Most Challenging Strategy
Keith: No one can expect a one-size-fits-all strategy blueprint for artists. What’s been one of the harder strategies to develop because the artist was so unique? How did it work and play out?
Tyson: We’re going a few years back, but the best example of fitting a square peg into a round whole for me was Macklemore & Ryan Lewis. When “Thrift Shop” came out, it sounded like nothing else on the radio. On the first listen one could have been mistaken to think that the song was just a novelty. But I could see that data firsthand with the insight that they had multiple hit records, in addition to “Thrift Shop,” already reacting in downloads and on YouTube all at the same time.
Since I worked at ADA then, it wasn’t feasible to go straight to Top 40 radio, so we put together a campaign to prove the record first at Alternative. While the local streaming data alone wasn’t always convincing enough for the Alt PD to feel like the record could fit on their station, the strategy was. Based on the big streaming numbers in the market, give us a spin or two and watch the phones, texts and/or Shazam’s light up from YOUR station listeners. It worked every time. The song only went Top 15 at Alt, but that’s only because Pop radio started picking it up. Alt felt they needed to move on to another song to differentiate themselves from the competition. It ended up being a #1 record at Pop, and pretty much the biggest song of the year.
The Tyson Philosophy
Keith: You’ve worked with artists at every stage — breaking, rebuilding, maintaining. If you had to boil down your entire philosophy of developing and breaking artists into one or two sentences, what is it?
Tyson: Write a great song, get great tours and work hard on the road to partner with radio. Add a good content strategy to that, and you’re set up as best you can to have a hit.
The Blank Slate
Keith: Last question. You can say anything you want to any sector of the music industry. What do you want them to hear?
Tyson: I am a big believer in the live aspect of music. It’s one of the remaining shared experiences we have with a group of other people who we may not know personally, but feel a connection with. We’re all in that one space together for one reason and that’s because of our common love for the music.
Barrett Media produces daily content on the music, news, and sports media industries.Sign up for our newsletters to stay updated and get the latest information right in your inbox.
Skip Bayless and Stephen A. Smith defined the debate era of sports television. Both, rooted in their journalistic beginnings, made a successful transition to broadcast media. They helped grow the industry across both sports radio and television. However, the real impact for both didn’t come until their on-screen relationship blossomed on First Take.
Since Bayless left ESPN in April 2016, he has spent the last decade trying to build a similar home to the one he helped create there. However, despite different co-hosts and networks, he hasn’t been able to match the impact that First Take has achieved.
Now, nearly two years after leaving FS1 and attempting to launch his own independent projects, Bayless is set to return to the show he helped build. While some are framing this as both a welcome back and a farewell to the audience, it should instead be viewed as a real-time demo to see if the sparks can still fly.
First Take is in its offseason mode. The NFL Draft is over, and the NBA playoffs have just begun. The platform is now heavily NBA-focused, even as regular-season baseball and postseason hockey attempt to break through the sports ecosystem. This creates an ideal opportunity to “test drive” potential guest co-hosts for the future.
That’s why the network announced that rapper and podcast host Cam’ron will join Smith today, with Hot 97’s Kid Mero appearing Thursday.
Everyone Benefits
But it was the announcement of Bayless’ return this Friday that drew the most attention. Bayless will join the program from his Los Angeles setup, marking the first time he and Smith have shared a screen on ESPN since 2016. It won’t be the first time they’ve collaborated since their last First Take appearance, as both have appeared together on digital platforms in the years since.
With First Take’s rotating cast model now central to its weekday programming, Bayless’ appearance should be viewed more as a “test drive” than a “nostalgia play.”
At 74, Bayless still commands an audience. Even a decade after leaving First Take, he continues to draw attention wherever he appears. He has built The Skip Bayless Show into a YouTube platform with more than 250,000 subscribers. His social media presence is also growing, now approaching four million followers. Recently, he teamed up with Gilbert Arenas’ growing platform The Arena, which also attracts a sizable audience.
There’s no denying that Bayless has built a digital following that rivals many of his peers.
From ESPN’s perspective, the question becomes whether there’s interest in doing business with Bayless again. It’s not a difficult case to make. His track record with the network, combined with his expanding social media reach, presents a compelling argument for a recurring role on First Take. Additionally, with David Roberts no longer overseeing the program alongside Smith as executive producer, the fit makes even more sense.
But the bigger question remains: will audiences respond to a Bayless-Smith pairing the way they once did?
Viewership habits and measurement metrics have changed significantly since 2016. While Smith often highlights First Take’s dominance in morning sports television, the show has faced little direct competition at a comparable scale.
Still, imagine adding Bayless into a regular rotation during football season alongside Chris “Mad Dog” Russo, Cam Newton, and others. Not just a one-off appearance, but true appointment viewing for ESPN. The network has already embraced personalities like Pat McAfee, Josh Pate, and Bussin’ With The Boys as regular contributors across its platforms.
So why not Skip Bayless?
What’s Old Could Be New
The reality is, this isn’t about turning back the clock—it’s about recognizing what still works in a constantly evolving landscape. Bayless and Smith didn’t just create memorable television; they built a format the industry has spent years trying to replicate.
My brother Stephen A and I and Ernestine had dinner last night in Beverly Hills. Great to see him, catch up, talk past/present/future. pic.twitter.com/39NVh24Q0p
Chemistry like that doesn’t age out—it either exists or it doesn’t.
Friday’s reunion shouldn’t be treated as a curtain call. It should be evaluated as a proof of concept. If the energy is there, if the conversation cuts through the noise, and if the audience responds as history suggests it might, the next step becomes clear.
ESPN doesn’t need nostalgia—it needs impact. And impact is exactly what a recurring role for Bayless on First Take could deliver. The history is proven, the attention is guaranteed, and the interest is already built in.
So, if Friday reminds everyone why this pairing mattered in the first place, ESPN shouldn’t overthink it. Make it a regular feature—and let the audience do the rest.
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.
Ben Shapiro and The Daily Wire found themselves at the center of conservative media chatter this weekend, and not entirely for the right reasons.
Barrett Media confirmed layoffs had taken place at the company. The story took on a life of its own almost immediately. By the time it finished traveling across social media, the facts had been stretched, inflated, and in some cases, abandoned altogether.
Former Daily Wire host Candace Owens lit the fuse. She posted on social media that 50% of the company’s staff had been laid off — then revised that figure upward to 60%. It spread fast.
But sources I’ve spoken with suggest those numbers are wildly inflated, and it doesn’t appear the cuts came anywhere close to the 50% threshold Owens described.
Then came Friday. A post from the account @Popstonox on X — a handle with roughly 17,000 followers — exploded to more than 11.5 million views on the platform. It echoed Owens’ layoff figures and added a fresh claim: that Shapiro had lost “85% of his YouTube audience since last year.”
That number raced around the internet. It also isn’t true.
The Daily Wire fires half of its staff in mass layoffs
This comes as co-founder Ben Shapiro has lost 85% of his Youtube audience since last year pic.twitter.com/HrmI68svk8
Here’s what the data actually shows. According to Social Blade, Shapiro has lost subscribers — roughly 20,000 over the last 30 days and approximately 200,000 over the past year.
On the surface, that sounds alarming. Context matters, though. Those 200,000 lost subscribers are coming off a channel with 7.2 million. That’s a decline of about 2%.
Hardly the collapse the viral post described.
The viewership picture is a bit more complicated, but it still doesn’t support the headline.
In April 2025, Shapiro’s YouTube channel generated around 38 million views. In April 2026, that number came in at roughly 25 million — a drop of about 34%.
That’s a real decline, and it’s one The Daily Wire certainly isn’t celebrating. But 34% isn’t 85%, and those aren’t interchangeable figures.
Context the Viral Post Conveniently Left Out
Moreover, the missing context here is glaring. Go back to 2024, and Shapiro’s numbers were even higher — because the country was living through one of the most chaotic election cycles in modern memory.
There wasn’t just a Presidential race. There was an assassination attempt, an incumbent dropping out, and the first woman nominated as a major party presidential candidate. That kind of news environment drives traffic to political commentators across the board. It’s not a permanent baseline to which every other metric should be compared. It’s a spike. There’s a reason it’s called a spike: because it always, eventually, comes back down.
None of this is meant as a defense of Shapiro or The Daily Wire. Their editorial positions generate plenty of debate, and they’ve got no shortage of critics on both the left and the right. That’s fine. Disagreement is part of the business. What isn’t fine is watching a post with 17,000 followers — amplified by outrage and the algorithm — rewrite reality for 11.5 million people before anyone stops to check the numbers.
Why It Matters
There’s an old saying that’s earned its place in the language: “A lie can travel halfway around the world before the truth can get its boots on.” It was true when it was first said. It’s even more true now, when a single post can lap the globe before a fact-checker finishes their coffee.
The Daily Wire is dealing with real challenges — the layoffs are confirmed, and a viewership decline of 34% from it’s biggest and most successful show isn’t something you just wave away.
But real challenges deserve honest coverage. Inflating those numbers doesn’t make the criticism more effective. It just makes it easier to dismiss.
When the story is real, tell it straight. The facts are damaging enough on their own.
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.
Radio talent discovery has aways been an adventure. There was a time when you could feel talent in your hands. Literally. Manila envelopes, cassette tapes, CDs in jewel cases with hand-written labels and a prayer tucked inside. You’d sit behind a desk, work through the pile one by one, and there was something almost sacred about that process. You listened. You judged. And you made the call. No algorithm, no follower count — just your gut and a pair of headphones.
I miss that clarity. Not the tapes. The clarity.
Because somewhere between the cassette era and the Dropbox link, we convinced ourselves that technology would make talent discovery easier. More democratic. A pure meritocracy where the best voices would simply rise to the top on their own. And it didn’t quite work out that way. The inbox replaced the stack, the MP3 replaced the aircheck, the “just checking in” email replaced the cold call — and yet here we are, with more access to more talent than any generation of programmers before us, and finding the right person somehow feels harder than ever.
So let’s have the conversation the industry keeps avoiding. Is this a meritocracy? Or has it always been a network?
The Local Secret Nobody Wants to Credit
Ask any programmer who’s been doing radio talent discovery long enough and they’ll tell you the same thing, usually off the record. Some of the best hires never came from a tape. They came from the market.
I’ll give you a perfect example. Justin Schlegel. If you know Baltimore radio, you know the JSS Morning Show on 98 Rock, WIYY — one of the longest running morning shows in the market. But I didn’t find Justin through a demo or a job posting. I found him at a comedy club. He was doing stand-up, working the crowd the way only someone who truly understands a city can, and I sat there thinking — this guy already has it. Growingup in Waldorf, Maryland, but he had Baltimore’s frequency dialed in like he’d lived there his whole life. Speaking to that market before he’s ever said a word into a microphone professionally. I had no idea at the time that he’d go on to become a cornerstone of one of the most durable morning franchises in that market’s history. I just knew what I heard that night felt different.
And that’s exactly the point. Local talent carries a frequency that’s almost impossible to manufacture, because they don’t have to learn the audience. They are the audience. They bleed the same streets, follow the same teams, feel the same frustrations at the same time everyone else does. Justin wasn’t a radio guy who studied the market. He was the market, and radio turned out to be the right container for what he already had.
But I’ll push back on the nostalgia here, including my own. Local only works when someone is willing to take the risk on it. And in today’s consolidated, margin-squeezed, quarterly-reviewed radio environment, that risk tolerance isn’t what it used to be. The ladder still exists and the climb is still real, but fewer people are standing at the bottom holding it steady while you go up.
What Actually Gets You Hired
The honest answer is both — talent and relationships, what you know and who you know. But they don’t carry equal weight at the same time, and that’s the part we tend to gloss over in polite industry conversation.
Your aircheck, your reel, your demo — whatever form it takes today — that gets you into the conversation. It always has, whether it was a cassette or a SoundCloud link. You still have to prove you can do the job and sound like you belong. That baseline has never moved.
The Myth We Keep Recycling
What moves you forward is something different. It’s who is willing to say your name when you’re not in the room. Because nobody hires off a cold listen if they have another option. They hire off confidence, and in this business, confidence almost always comes from familiarity — from someone they already trust saying, “I’ve seen this person work. I know what they’re made of.” That’s not cronyism. That’s just how trust functions in a high-stakes, reputation-driven industry where a bad hire costs more than just money.
We love two sayings in radio. We love “it’s who you know,” and we love “the best talent always rises.” Both are true, and both are incomplete, because the real version — the one that actually describes how careers get built in this business — sits somewhere in the middle of those two ideas. The best talent rises when the right person is paying attention. That’s the part nobody wants to put on a motivational poster. Social platforms help and industry visibility matters, but the actual hiring decision still happens in a text message, a phone call, a conversation at a conference bar at 11pm. The tools have changed completely. The wiring underneath them hasn’t moved an inch.
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.
Of all the music formats that have lost their center, Adult Contemporary seems to continue to lead the pack. AC radio stations lack vision for their strategic position and the fortitude to make differentiations in their market landscape.
Compounded by uneven tactics and flipping on which edgier titles to embrace while divorcing themselves from the softer gold.
For decades, AC stations played the safe center of the dial, built on familiarity, comfort, and mass appeal. Our media world is now dominated by choice and personalization. The mantra of “a little bit for everyone” has become an increasingly dangerous place to live.
As available audience has migrated to digital platforms like Spotify, YouTube, and Apple Music, formats like Country and Hip-Hop have doubled down on solid identity and music-driven culture.
AC continues to respond by playing it even safer with a shallow playlist. Ignoring the soft but hugely popular testing gold. In trying not to offend, many AC stations have forgotten how to matter. Without key-market personalities, AC stations are merely jukeboxes.
The result isn’t confusion so much as over-caution. Many AC stations haven’t failed to brand or define themselves. The definition has simply become too narrow, focused almost entirely on “inoffensive.” When everything is pleasant, nothing truly matters.
The AC Identity Crisis
For years, Adult Contemporary brands made a conscious decision in the name of “staying contemporary.” Flushing away the staples that got them to the ratings mountain. The softer sounds of the ’70s: think Carly Simon, Carole King, James Taylor, and John Denver. Ironically, those artists were some of the strongest testers on the board. Classic Hits and AAA play them now, and those formats have siphoned audience from AC.
Then came the consultants in their navy-blue blazers. Their well-researched message? Music is the only hill worth dying on. Everything else? Negotiable. Personality, news, community presence — all expendable if necessary.
That philosophy had real consequences. Many “spectrum ACs” once leaned heavily into full-service morning shows, rich with news, personality, and local relevance. With music becoming the singular focus, the natural shift went toward more music-intensive mornings and less personality and imaging.
Meanwhile, Outside the AC Format
While AC was streamlining, the rest of the radio landscape was fragmenting and growing aggressive. New flanker formats emerged, all pulling from the same place — the AC audience.
Classic Hits carved out the older end of the library
Rhythmic AC peeled away a different slice
Hot AC positioned itself squarely between AC and CHR
These formats had a distinct sound, and they marketed differently. They showed up. They promoted. They attacked. AC often responded by pulling back. Fewer voices on the air, less marketing presence, and a “bunker” mentality.
Now What?
If you’re leading an Adult Contemporary brand in your market today, the audience hasn’t vaporized — it’s been redistributed. Opportunity still exists. Reclaiming it requires intention, strategy, and yes, courage.
Strategic Moves
1. Rebuild as a Full-Service Brand
AC’s strength was never just music. It was trust. Expand your news presence beyond morning drive using a local television partner. Short, well-executed headline updates throughout the day matter to your audience. Especially in today’s 24-hour news cycle. Your audience still wants to know what’s going on, and FOMO anxiety is real.
2. Stop Surrendering the ‘Soft’ Lane
There’s a wide swath of music — especially pre-1981 — that AC has largely abandoned out of fear of sounding “old.” But that space hasn’t lost its appeal.
Most AC stations only play one Eagles record and largely ignore big ’80s hits. The Beatles are still the #1 selling artist of all time. Michael Jackson’s “Thriller” is the #1 best-selling album of all time, and all but one of those songs were Top 10 on Billboard. AAA and Classic Hits draw strong numbers by sprinkling in ’70s Paul McCartney and The Beatles.
Reintroducing softer classic hits, in a measured way, can reconnect with listeners without damaging your brand.
3. Build a Real Afternoon Show
Build something that complements morning drive and can flex when needed. A true morning-show experience in PM Drive that has personality, storytelling, and connection. Great talent still cuts through, and AC audiences respond to authenticity.
Tactical Plays
1. Own Evenings with Purpose
Country radio has long understood the power of ritual. AC can do the same in its own way. Imagine a nightly feature like bedtime stories at 7 p.m., voiced by local teachers. It’s community-driven, family-friendly, and deeply brand-aligned. As a bonus, partner with schools and PTOs to extend the impact.
2. Don’t Ignore Overnights
Yes, overnight ratings are thin — but they’re not meaningless. An audience exists there, even if passive. Use that time strategically. Run signature benchmarks and personality-driven breaks from your morning show so third-shift listeners build familiarity.
Today’s overnight worker could be tomorrow’s morning commuter.
Next week, we’ll take you through a strategic effort that most have not witnessed. That warfare exercise is valid for any format.
The Bottom Line
Adult Contemporary didn’t lose its audience. AC loosened its grip on it and let ratings drift away.
Winning it back means rediscovering what made AC matter in the first place: a spectrum playlist spanning six decades of great music, coupled with connection, consistency, and community — all supported by great programming.
The playbook for an AC resurrection is here. The question is whether you’re willing to run it.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
I tend to be a person who believes that competition is best for any business, society, and for innovation. Veteran radio people have long complained that the 1996 ownership rule change was devastating to our industry. In some ways, they are totally correct if you are looking at things from a 1996 and earlier perspective.
In today’s atmosphere, where a person can start a video podcast on a shoestring budget and build a small business based on almost any subject, the competition for radio and traditional television is rapidly changing.
I try to live in the reality zone. Most of us live some sort of a fantasy life. You may have a romantic relationship that is failing or is over. You may be married to that person and hoping that things will improve. Or you may be at a job that is no longer satisfying, and you are unable or unwilling to make a change in your life.
We all know people who are stretching it out. I was speaking with a friend who works outside of media. This guy is miserable. He is a couple of years from retirement, hates the people he reports to, and is just trying to stretch things out until he can pull the plug and sail off into the sunset. That is no way to live, but if you speak with people who have reached that part of life, it is a common conversation. It could be the group of people in your friend circle — you may have people who are very negative about everything, and it’s not good to associate with them.
Well, the 1996 Telecom Act changed the game for better or worse. It is reality. We can’t go back.
So, what now? There has been conversation about loosening the ownership rules further — what does that create for the marketplace?
Radio’s Content Challenge in an On-Demand World
There is some really good news for radio: we are being used by the vast majority of Americans on a weekly basis. For news/talk, we are still connecting with people. Content delivery is still a concern due to the connected car, podcasts, and smartphones.
How do we adjust to an on-demand world? Many in our industry say that converting the daily news/talk show into a podcast is key to meeting that challenge.
One of the issues with that is the news cycle is moving so fast that an on-demand show from three hours ago may be obsolete. I think that is a challenge we have not fully adjusted to. Video is an important part of getting clicks and views. The challenge is that video seriously hampers the theater-of-the-mind advantage to our art.
Also, getting the video feed right is tough. At last year’s Barrett Media News Summit, I took a subway to the Salem facility and was blown away by Mike Gallagher’s setup. The space was not much bigger than most radio studios and was very efficient. Gallagher is a radio artist — a man who has a strong understanding of the imagination part of our industry. I have not spoken with Mike about this, but I’m sure it has changed his show.
The Democratization of Information and the Trust Problem
In the last 25 years, information has been democratized. Anyone can be an expert. Information is shared so often by millions of sources. Yes, there is false and misleading information on almost anything. The gatekeepers of information have been neutered.
Spend time with veteran newspaper writers or people who work for public radio. They are outraged by the changes. These people are no longer the voices of legitimacy. Very likely, your community has social media influencers who are covering local news stories, and many of them do very good work.
One of the issues is that most breaking news stories from influencers lack any sort of basic journalism — these often start rumors and create confusion instead of accuracy. This has been a huge adjustment for any news organization.
Bridging the Gap Between Media and Government
If a news organization is not receiving information from official government sources quickly, it looks like it’s either not interested or hiding the truth from the public. This creates distrust in traditional media and in government. I have actually met with elected officials to share why prompt communication is so important. If there is a shooting at the mall, the speed of communication to media is essential. Everyone with a phone — and that’s everybody — can post on a moment’s notice.
If the cops are keeping their mouths shut until they know everything, it will create mistrust. I have explained to government leaders that all they have to do is post a quick statement: there was gunfire at the mall, police are investigating, and accurate details will be reported as they are confirmed. This also allows radio, TV, and other news providers to have something to say immediately.
Traditional media loses credibility when it’s slow to communicate details. I highly encourage news directors and brand managers to meet with government bodies to encourage them to be proactive. Especially with law enforcement — the public information officer often does not have a background in news or media, and frequently these people don’t understand the timeline we are under.
Our challenges are immense. The news cycle has never been quicker, and the demand for immediate information has never been higher.
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.
For decades, radio advertising sellers have leaned heavily on a singular, central promise of results. We have used ratings, reach, frequency, CPM, and packaged discounts to attract buyers. We sometimes make feeble attempts to offer numbers and data that might compete with the mounds of digital data which, frankly, have been up for debate for years.
These metrics continue to be the currency of our business. While results matter, I’m convinced that this overreliance on data has limited the full potential of what radio can deliver.
It’s time for a true shift in mindset. Selling radio advertising should focus less on short-term results and more on long-term purpose.
What matters more than anything are the authentic relationships you create with clients. The same relationships your clients build with their own customers.
The truth is, most advertisers have been conditioned to chase immediate, measurable outcomes. Digital platforms have amplified this obsession. The dashboards are attractive. Full of data like clicks, conversions, and attribution.
Digital has forced radio to press harder and quantify itself using that same model of instant gratification.
It often feels like you’re on a disciplined, effective plan that highlights strength and efficiency. Yet you’re competing against the gluttony of an all-you-can-eat buffet. All the data in digital does not make radio less powerful.
It makes it different.
Long Term Play
Radio thrives not on quick hits, but on sustained branding influence. It builds familiarity, trust, and emotional connection over time. These are not just soft benefits. They are the foundation of its marketing strength. Its focus is branding over transaction, and that must be the purpose behind every proposal.
When sales conversations center only on numbers and results, radio becomes a commodity. This happens every time we are forced to sell against, rather than alongside, digital. When radio becomes a numbers game and is compared—often unfairly—to digital metrics, it loses the opportunity to tell the full story.
At that point, radio sellers are pushed into defensive positions. They try to justify value through data points that may not fully capture radio’s true impact. Instead of elevating our strengths, we unintentionally diminish our own value.
Pure digital companies and their sellers know this—and they take full advantage of it.
Purpose changes that dynamic and reshapes the narrative. When you shift the conversation to why a business exists, what it stands for, and who it serves, radio becomes a natural extension of that story. Apple ran an ad years ago during the Steve Jobs era that spoke directly to this.
A line from the spot asked, “Does it make life better? Does it deserve to exist?”
Authenticity Matters
Radio is uniquely human. It’s our people, voices, personalities, and our shared experiences. It lives in the daily routines of listeners on their commute, at work and home. That kind of presence allows clients to connect with audiences in a way that feels personal, not transactional.
Selling purpose means helping clients articulate their message. Aiming for ways that are relevant and resonate emotionally, rather than only rationally. It’s about aligning their brand with the values and identity of the targeted listener. When that alignment is strong, results follow. However, they come over time, as a byproduct of meaningful connection.
Not as the sole objective.
Equally important is the role of relationships. The most successful radio campaigns aren’t built in a vacuum. They require thoughtful collaboration between marketing strategist and client. When you invest the time to understand a client’s business—its challenges, goals, and vision—you transition from vendor to partner.
That shift is powerful because partners are trusted, while vendors are replaceable.
When I owned Pinnacle Media Worldwide, I used to tell clients who called us vendor to find someone else. Our services were not something chosen by pushing a button and expecting results to slide down the chute. Partnerships are built through solid, long-term relationships.
It’s like a marriage. You’re in it for the long haul.
Strong partnerships also create consistency, and that’s where radio shines. When a client trusts your partnership and turns to you for advice beyond placing an order, they are far more likely to commit to longer-term campaigns.
That allows the message to take hold and grow over time. Where radio delivers its greatest value.
Shifting the Approach
Radio cannot win in a single flight. Its presence must be sustained and embedded in the minds of consumers. That is what makes radio incomparable.
This doesn’t mean abandoning results altogether. Results still matter, and they should be part of the conversation. But they should never lead it. Instead, they should support a stronger, broader narrative built on purpose and strengthened by relationships.
Today’s environment is crowded with noise and metrics. Radio has an opportunity to stand head and shoulders above the rest by focusing on what has always made it powerful—human connection.
When you, as a marketing strategist, embrace that philosophy, you stop selling spots and start building something far more meaningful.
In the end, the only result that truly matters comes from the ringing of your client’s cash register. Radio makes that happen. Always has. Always will.
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.
