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Barrett Media Sharpens Its Content, Newsletters, Video, and Social Media Today

Jason Barrett
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Barrett Media Sharpens Its Content, Newsletters, Video, and Social Media Today

I’ve spent the past few weeks internally referring to Monday, May 4th as Barrett Media’s Grand Reopening. We recently hired two new music editors — David Hill and Bethany Kent — and announced a partnership with Yahoo Sports/Finance. Both of those moves make us better, but we’re not stopping there.

Today we’re introducing changes to improve our website, newsletters, videos, and social media.

Website and Content Changes

On the main page of our website, Features now sit on the left, Columns on the right, a Featured column anchors the middle, and two media industry news stories appear on the right. We’ve also eliminated BSM Staff, BNM Staff, and BMM Staff bylines entirely. Stories now display under each writer’s name. Furthermore, Music content will include news on labels and artists — not just music radio transactions.

Most importantly, we’re introducing a new format for how we present news. I’ve dubbed it The What System.

Starting today, all news stories will run 200-300 words and feature four key parts: What We Know, What It Means, What Remains Unclear, and a rotating fourth section — either What They Said, What’s at Stake, or What the Numbers Show. Stories involving ratings, contracts, or heavy data will use a chart to highlight What the Numbers Show. Stories with quotes will use What They Said to make comments easier to absorb. When neither applies, we’ll examine What’s at Stake.

Website visitors typically read 20% of text on a page. Axios has shared that 80% of their readers consume 350 words or less. Reviewing our story length and how much people consume made refining our strategy necessary.

Press releases and individual announcements are often one-sided. Our editors will go further — adding voice, context, and deeper examination. Industry leaders and professionals have limited time and deserve the full picture in a quick, digestible way.

Newsletter Changes

If you receive our Morning Edition, today’s version looks different. We now deliver the first column in its entirety. The articles that follow the lead story show the first three paragraphs. This gives readers more depth to decide if something is worth reading further. We’re also showcasing our advertising partners more prominently.

In June, The Nooner — our music newsletter — expands to five days per week. It’s currently distributed Monday, Wednesday, and Friday. It will also receive upgrades to strengthen the user experience.

The Evening Edition will undergo adjustments too in August. Until then, we’re tightening our story count to eight or less. Articles that don’t make the newsletters will still be available on the website.

Social Media Shift

Across all platforms, you’ll see more video and custom images. We’re also prioritizing posts that promote original columns, features, speakers, and brand announcements. News stories will be pushed by our writers, so follow them if you want that information. Otherwise, check the website or our newsletters.

Social platforms frequently change the rules but do tell you what works and what doesn’t. Nieman Lab recently shared how brands pushing link posts on X generate small reach and engagement. Meanwhile, Fox News uses links in fewer than 10% of posts and earns the third highest median engagement of all publishers studied. That research focused on X, but similar stories exist on Facebook, TikTok, LinkedIn, YouTube, and Instagram.

We don’t have millions of followers to justify using the wrong approach, so we’ll play the game the right way, measure the results, and adapt when the rules change again.

Video

Starting Monday, May 18th, Barrett Media is adding Quick Takes — one-minute or less video commentaries on topical industry issues, promoted across social media. Some topics will be covered on BarrettMedia.com. Some will not. John Mamola, Garrett Searight, David Hill, Bethany Kent, and I will each contribute weekly.

Through our involvement in Yahoo’s new Sports Business hub, our sports team will appear on Yahoo’s digital shows. In addition, we are planning to launch a Music/Radio video show later this summer. David Hill and Bethany Kent are expected to anchor it. The Jason Barrett Podcast will return in October. Dylan Barrett will produce, edit, and promote both shows alongside The 4-Cast and Barrett Media Minute.

Closing Comments

Building a great brand requires constant evaluation and adjustment. We’re making improvements to better serve and expand our audience and partnerships. Celebrating, educating, and challenging the media industry by examining issues across sports, news, music, and business remains our primary focus.

Thank you for continuing to support our work. We appreciate the time you spend each day reading, watching, and sharing our content. If you have feedback, email me anytime at Jason@BarrettMedia.com.

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.

Why Gregg Bell Earned a Second Chance at Seattle’s 93.3 KJR

John Mamola
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Why Gregg Bell Earned a Second Chance at Seattle’s 93.3 KJR

It was just over a year ago when Seattle sports radio station 93.3 KJR announced a new host for its vacant midday timeslot. After nearly ten months of fill-in work by Tacoma News Tribune Seahawks beat reporter Gregg Bell, the station went in another direction. The iHeartMedia brand decided to welcome Marc James into the timeslot while Bell stayed with the station for his morning radio hits.

Fast forward 14 months, and another round of layoffs hit iHeartMedia. The radio station parted ways with James in the timeslot, raising questions about how to fill the role this time.

“Rich Moore [KJR Program Director] always told me that you never know and things could change,” said Bell about the months following the station’s decision to hire James in the daypart. “I was willing to do that, because I have a first job. It takes up a good bit of my time. It’s not like I was twiddling my thumbs waiting on KJR to call me back about a full time job.”

Bell said when the decision came down that James would be the selection for the daypart, he didn’t take it personally. Instead, he focused on continuing to provide quality coverage of the Seahawks for both the newspaper and the morning show on KJR.

As news broke about James’ departure last month, that dedication paid off with an offer to become the new voice of middays on KJR.

“When iHeartMedia made a decision that KJR had to trim a position, Rich Moore asked me if I wanted to host a 10am-12pm show. I wasn’t coming in from far away, because I was talking to him all the time,” said Bell.

The timing was quick and direct. Less than a week after James’ final show, KJR announced Bell as the new host for the midday daypart. Despite not signing a contract to fill the role, Bell moved forward with the opportunity, understanding the ever-changing nature of the business.

“I’ve been in business long enough to know it changes in a hurry. So, I made the decision to keep my head down and continue my work for KJR. Always doing what they asked me to do. To be a good team player, and that opportunities might come down the road,” explained Bell. “They did… I’ve been in the media business already, and I’m a little bit past having hurt feelings or a pouting stage.”

Bell said he understood why he was passed over in 2025 for James and noted that the two got along well during their time in Seattle.

Finding His Voice

Now, the interim has become permanent for Bell and producer Christopher Kidd as they hold down the daypart. While much of Bell’s background is rooted in sports journalism, his radio résumé lacks the experience many major-market talents possess. He said radio was never an aspiration in his youth. His only experience in the industry came from working play-by-play for lacrosse and basketball while a student at West Point.

“All my muses are in writing. I don’t have that realm of looking at other sports radio hosts and trying to emulate them,” said Bell. “I don’t habitually listen to sports talk radio when I travel covering the Seahawks, and don’t much listen at all.”

With his limited background in radio, Bell is leaning on his journalism experience to set himself apart.

“The value that you can bring as a first-person journalist who does his own reporting. Few outlets have that. So, I’m trying to capitalize on that as my niche for the listeners on KJR,” explained Bell. “Anyone can pontificate about anything they see on television, but how many of them have the experience I have with the teams and players? There’s fewer of that in sports radio than ever before.”

Bell is not a Seattle native, having grown up in the Midwest and Ohio Valley. He moved to Seattle in 1994 and developed a respect for those who came before him on the city’s legacy sports radio brand. For the past 12 years, Bell has been the lead voice covering the Seattle Seahawks for the Tacoma News Tribune.

Storytelling on the Radio

His approach to this second opportunity in middays centers on blending that journalistic foundation with a human touch. He aims to share the stories of players beyond the box score, highlighting the people behind Seattle sports and connecting with fans on a deeper level.

“Everybody I cover has a why and a path how they got there. I’m trying to bring some of that to sports radio. Sometimes I feel like ‘The Lone Ranger’ doing that,” notes Bell. “I’m trying to raise that bar for the listener. To challenge them to learn more about the people they follow and pay to see the games. They’re more than just athletes.”

While the midday program adds to his workload, Bell said the newspaper remains his top priority. When breaking news occurs, there is an understanding with his publisher and editors that the paper will report it first before he brings it to the radio audience.

“My job primarily is first to the News Tribune. To his credit, Rich Moore understands that. In fact, he wants to promote anything involving me and the News Tribune. I appreciate that,” said Bell. “If something breaks on the air, I’m not prohibited from talking about it or reporting it on KJR. But I try to do it simultaneously with the paper either on social media. I do make a conscious effort to not talk about my stories until its published with the News Tribune.”

Because of the access Bell has built over time, balancing responsibilities between two outlets requires care. He said the plan for the upcoming season is to handle both roles full-time. Bell also credited efforts to broadcast his show from the Seahawks facility during game weeks, as well as from iHeartMedia locations after road games.

Growing the Next Generation

While Bell is excited about the opportunity, he is equally eager to provide a platform for his executive producer, Christopher Kidd. The two developed strong chemistry during Bell’s interim run prior to James’ hire and now have the chance to build on it.

“My goal, I want to give Christopher Kidd a large voice on the show. I want the show to be The Gregg Bell Show with Christopher Kidd,” says Bell. “He’s got a lot to provide to the program. I try to give him a lot of opportunity to do that. He’s been great for the transition so far, and understands what I’m trying to do.”

Bell said listener feedback during his second stint in the daypart has been overwhelmingly positive, especially with Kidd’s increased presence in the show’s content.

Still, Bell remains grounded in the realities of the business. Change is constant. Stability is never guaranteed. But this time, he isn’t waiting for the next opportunity.

He’s building one.

With a journalist’s perspective, a storyteller’s instinct, and a renewed shot in middays, Bell is working to carve out a distinct voice at KJR—one rooted not just in what happens on the field, but in the people behind 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.

Should Streaming Impact Radio Airplay on Classic Rock/Hits Stations?

Mike Stern
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Should Streaming Impact Radio Airplay on Classic Rock/Hits Stations?

The world of streaming has added a whole new challenge to determining what songs to play on the radio. Stations that play new music must account for what tracks are being streamed and determine whether to add them to their playlist.

But for Classic stations, other than maybe the groundswell around Fleetwood Mac’s “Dreams,” streaming hasn’t really impacted what gets played. But that may be changing according to a new article on Screen Rant written by Sarah Polonsky. She points out that seven Classic Rock songs are secretly dominating streaming in 2026.

With listeners likely exposed to these songs online we at least need to be conscious of these trends and really look at whether any of them warrant increased airplay. It’s not an easy equation. Each station’s unique competitive situation only muddies the water but here are the seven songs Polonsky outlines with related thought starters about potential airplay.

Blue Oyster Cult “Don’t Fear the Reaper” and Rush “Tom Sawyer”

According to Polonsky, Blue Oyster Cult’s track is being used as the soundtrack to millions of book vlogs and “late-night study streams.” Meanwhile Tom Sawyer has been prominent in a popular video game soundtrack and an air-drumming challenge. Add in the new tour and you have a recipe for streaming success.

Airplay Outlook: These songs are already the 67th and 19th most played songs at Classic Rock so far this year. They earn reasonable attention at Classic and Adult Hits as well. There’s no real decision to be made here.

David Bowie “Starman”

Even though the song isn’t in the movie, the success of Project Hail Mary is leading to a landslide of fan driven content about uplifting science fiction that often uses this song as the soundtrack. That exposure is serving as a gateway to the rest of Bowie’s music. He’s the second most searched Classic Rock artist of the year so far.

Airplay Outlook: The online exposure plus the fact that the song is likely somewhat familiar might make it worthy of secondary or tertiary airplay. More importantly it might warrant a fresh look at Bowie’s bigger hits with consideration to giving them more spins.

Fleetwood Mac “Silver Springs”

This song has overtaken “Dreams” as the most shared Classic Rock track on social media. Much of that is due to a trend known as the “Unresolved Cannon Event.” Strangely, that has led to the song being pushed into Gothic Folk playlists online as well. Despite all that it currently is receiving no notable airplay outside a few AAA spins.

Airplay Outlook: The growth of this song so far is being fueled by a trend that will surely end soon. There are so many big hits to play from this band, that this feels like it can be left online.

Credence Clearwater Revival “Who’ll Stop the Rain”

This song has become the theme of the “slow living” movement; people leaving city life for more rural options. On the strength of that trend this title is approaching half a billion streams. As far as radio, the song is currently receiving virtually no airplay while the artist is in the top 75 for both Classic Rock and Hits.

Outlook: The streaming profile on this band continues to be huge. This track is on Chronicle, their greatest hits package meaning everyone who has rediscovered this band has heard the song. It’s probably worth a few plays.

The Beatles “Yesterday”

Streaming for this song picked up around the announcement of the upcoming Beatles cinematic event. That led to it being featured on many playlists as well. On the radio the song is getting no airplay. The band though still plays a role at all three Classic Formats.

Airplay Outlook: This depends on what flavor of station you are. Hard Rocking Classic stations don’t have any call to go here. But Classic Hits stations and others than lean in that direction could do worse than giving this timeless classic a few spins.

Bonnie Tyler “Holding Out for a Hero”

Interest in this song is driven by a slow remix that has appeared in several superhero movies and shows. That has led to inclusion in other online trends. On Classic Hits stations this song gets a little play. However, “Total Eclipse of the Heart” receives airplay on both Classic and Adult Hits stations.

Airplay Outlook: Despite being a novelty from the Footloose soundtrack, the song might be relevant today. Classic and Adult Hits stations certainly play worse novelty songs to get “oh wow” reactions. It may be the moment for this one.

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 Scott Jennings F-Bomb Moment on CNN Was Human, Not Fireable

Garrett Searight
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The Scott Jennings F-Bomb Moment on CNN Was Human, Not Fireable

Scott Jennings dropped the F-bomb on CNN, and somehow the world didn’t end. Shocking, right? The moment went viral almost instantly, and the opinions flooded in just as fast.

Some said Jennings couldn’t handle the pressure of a live panel debate. Others clutched their pearls over the language itself. Keith Olbermann took it all the way to eleven, calling for CNN to fire Jennings outright.

Everyone had a take. Most of them were wrong.

Here’s mine: I don’t have a problem with what Jennings said. Not really.

It’s About Personal Space for Jennings, Clearly

Watch the clip. It’s pretty clear Jennings had an issue with his personal space being invaded — not with the debate itself. I don’t think that he was rattled by an argument. He wasn’t losing a point. He reacted to someone getting too close. That’s a different conversation entirely, and it’s one worth having before we start drafting pink slips.

This also wasn’t the first time. Jennings once told Bakari Sellers not to touch him during an appearance on that same show — Abby Phillip’s NewsNight. Same desk. Same tight quarters. If there’s a pattern here, it isn’t one of a man who can’t take the heat. It’s one of a man who has very clear boundaries about his physical space, and who’s had to assert them more than once in that particular setting.

Those seats at the NewsNight desk look a lot more comfortable than they probably are. Television has a funny way of making everything seem more spacious than it actually is. Up close, in the middle of a heated panel, it’s a different story. Diego Mockler didn’t do anything wrong. Some people talk with their hands. That’s just how they communicate. But Jennings clearly has an issue with proximity — and in that moment, the frustration boiled over into four letters that made for a very entertaining news cycle.

The Repercussions?

Could he have handled it better? Without question. There’s no version of this where dropping an F-bomb on live cable news is the ideal response. Even if every instinct in the room was justified, the execution left something to be desired. He knows that. CNN knows that. Everyone watching knows that.

But here’s where I pump the brakes on the outrage machine: this doesn’t warrant a suspension. It doesn’t warrant a firing. Olbermann’s call to cut Jennings loose is the kind of social media hot take that sounds satisfying in the moment and means absolutely nothing in practice. CNN isn’t going to fire one of its most recognizable conservative voices over a single unscripted expletive — nor should they.

What this warrants is a quiet conversation. Something like: “Hey Scott, friendly reminder — we can’t be dropping F-bombs on the air. Don’t let it happen again. Appreciate it.” That’s the right response. That’s the proportionate response. And that’s what a functional workplace does when an employee has a very human moment on a very public stage.

Anything beyond that is overkill. Full stop.

Radio has dealt with far worse on live air and managed to move on. Cable news can do the same. The difference between a fireable offense and a teachable moment usually comes down to context — and in this context, Jennings wasn’t trying to be crude or disrespectful. He was uncomfortable, and he said something he shouldn’t have said. It happens.

The media industry loves to eat its own. Every slip, every stumble, every unguarded moment becomes an indictment of someone’s entire career. It’s exhausting — and it’s unfair. Scott Jennings has earned his seat at that desk. One word — even that word — doesn’t change that.

CNN should log this one under “learning experiences” and move on. There’s plenty of actual news to cover.

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 and Reinvention: Meet Your New Music Radio Editor

Bethany Kent
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Radio and Reinvention: Meet Your New Music Radio Editor

Longtime radio nerd, first-time music radio editor & writer here. If we haven’t met yet, we should.

I’m Bethany Kent, the new music radio editor at Barrett Media. I’ve spent the better part of two decades living at the intersection of music, marketing and mayhem.

Over that time, I’ve have had the privilege of building and marketing radio brands and events in Providence, Philadelphia, and New York City. Until 2025, I worked nationally as director of music initiatives for Audacy.

Along the way, I learned that radio works best when it feels alive. When it shows up in real spaces, not just on a dial or an app. Capturing that collective effervescence.

That concept, coined by Émile Durkheim, is defined by Frontiers in Psychology as “a state of intense shared emotional activation and sense of unison that emerges during instances of collective behavior.” Most music industry folks would know the feeling from an unforgettable concert or sports experience.

Radio’s Collective Effervescence

I see that collective effervescence in radio too. When a morning show perfectly reflects the community it serves, it’s magic. That belief has shaped some of the most defining moments of my career.

For six years, I produced HOT 97’s Summer Jam, one of the most iconic live events in music. Last-minute lineup changes, surprise guests, crowds of 50,000 people collectively losing their minds. There’s no better crash course in audience connection than standing backstage while the energy of an entire stadium pulses through the walls.

Experiences like Summer Jam reinforced something I still believe. Radio isn’t just a platform, it’s a catalyst. When radio works, it doesn’t just play music — that’s what Spotify is for.

Radio creates moments.

The Year That Forced Perspective

The past year reminded me that even carefully built careers can shift quickly. I got engaged — a clear high point. But I was also laid off from a role I genuinely loved. That combination forces perspective whether you’re ready for it or not.

At first, the uncertainty felt uncomfortable. Then it became clarifying.

Most of us in radio are generalists. Scheduling music, managing talent, pitching promotions — the list goes on. So the question became where do I go from here?

I didn’t just want another job. Instead, I wanted alignment. To be intentional about where I live (near the ocean in Rhode Island), and how I spend my time. At the same time, staying close to the industry I love while growing in new ways.

First, I started with a passion project: selling vintage décor through my business Anchor & Hope Vintage Treasures. I’ve also been producing events in spaces outside entertainment. This includes work for Microsoft, PayPal, and the global broadcast of the New Year’s Eve ball drop in Times Square.

Each opportunity came from connections built over the years. Every experience was a new challenge. Did I throw on a hip-hop playlist to hype myself up before diving in?

Absolutely.

In 2026, I’m realizing my career doesn’t need to follow a straight line. It can be more like a festival map. A little chaotic, occasionally hard to read, but always leading somewhere worth going.

Why This Role & Why Now

That’s what makes this role at Barrett Media so exciting. The mission to celebrate, educate and challenge the radio and music industry is a framework for meaningful conversation.

Radio is evolving, audience habits are shifting, and technology is accelerating everything. Yet the core question remains. How does radio stay essential?

My goal is to contribute to that conversation in a way that feels both informed and honest. Writing columns and features that spotlight programmers, personalities, executives and creatives. Aiming to push the industry forward. Some will celebrate what’s working. Others will dig into what’s not.

Be prepared to be sick of me.

To quote one of the newly named 30 Greatest Living American Songwriters by The New York Times, and one of my all-time favorites, Jay-Z: “Allow me to reintroduce myself.”

Music Radio Editor at Barrett Media.

I still believe in this business. Because at its best, radio still has the power to shape culture. That’s a conversation worth having.

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.

Spotify’s New Verified Checkmark Overlooks the AI-Podcast Boom

John Mamola
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Spotify’s New Verified Checkmark Overlooks the AI-Podcast Boom

Remember when there used to be value in a checkmark on social platforms? The practice was once a badge of credibility, signaling a person or an outlet you could trust. You had to work to earn those badges, proving to your audience that your content was reliable and worthwhile. Over the last several years, the checkmark has shifted from a marker of credibility to something bought and paid for. Now, Spotify is attempting to make it a rite of passage for human-made music.

Last week, Spotify introduced a ‘verified’ badge to help users identify when an artist on its platform is human, not AI-generated. This marks the latest step by streaming platforms trying to sift out AI-generated music, despite its growing popularity among listeners.

The announcement did not address whether the ‘verified’ badge would apply to another growing AI dilemma in audio: the AI-generated podcast. Since the beginning of on-demand audio, few creators believed it would take hold in a genre built on connection and authenticity. But, like music, times are changing.

According to Edison, Spotify is the second-largest podcast network in the United States. It sits between SiriusXM and iHeartMedia, which are reportedly exploring a merger to further dominate the on-demand audio space.

Spotify also reported in its Q1 findings that its monthly active user base jumped 12% year over year to 761 million. The platform’s audience is growing in a content race that every creator is trying to win.

The Growth of AI-Podcast

AI podcasting is no different from AI music. The technology offers cost savings and new opportunities for creators who lack the resources to enter the space. From developing content ideas to handling distribution and monetization, many now rely on free AI tools to move quickly.

According to the Los Angeles Times, there were already hundreds of thousands of AI-generated podcasts available across platforms as of December. These podcasts cost less to produce, often sound polished, and can be created rapidly, all with the intent of disrupting the industry.

Former Jeanine Wright has launched her own company, Inception Point AI, to develop AI talent capable of hosting podcasts. The company aims to expand those capabilities into influencer roles across social media, literature, and beyond.

“I think that people who are still referring to all AI-generated content as AI slop are probably lazy luddites. Because there’s a lot of really good stuff out there,” Wright said to the Hollywood Reporter last year.

For context, Wondery ranks as the fourth-largest podcast network, behind SiriusXM, Spotify, and iHeartMedia, according to Edison.

This trend isn’t limited to startups—it’s also gaining traction among major industry players.

Last year, The Washington Post launched Your Personal Podcast, an AI-driven product that customizes audio content based on a user’s reading history. Amazon also recently introduced an AI-generated ‘podcast’ featuring two AI hosts who discuss product reviews and descriptions while answering user questions about potential purchases.

While these examples operate within their own ecosystems, the broader concept of AI-generated podcasts is quickly becoming the norm rather than the exception.

Verification MIA

According to a recent report from Podcast Index, published by Inc.com, nearly 39% of podcast feeds created within a recent nine-day span ‘might’ have been AI-generated. The report noted that many of these shows were distributed across multiple platforms. Often through Spreaker, which is owned by iHeartRadio.

While Spreaker clearly labels AI-generated content, other platforms do not provide the same level of transparency.

For example, one podcast from Wright’s Inception Point AI—101 – The Secretary of Energy—was uploaded through Spreaker and distributed to other platforms. On Spreaker, the April 28, three-minute episode on gas prices includes a clearly visible label identifying it as AI-generated.

However, on platforms like Spotify, iHeartRadio, and Apple Podcasts, that same distinction is absent. There’s no button, no alert, and no checkmark of any kind to inform listeners. Sure, there’s a disclaimer deep at the bottom of the description. However, the likelihood of someone scrolling to the bottom of that is closer to zero than anything.

So, if Spotify is willing to verify the authenticity and trustworthiness of artists on its platform, shouldn’t that effort extend to podcast creators as well?

The reality is simple: the same technological wave pushing Spotify to separate human-made music from AI-generated tracks is already hitting podcasting. It may be moving faster and with far less transparency.

Can’t Play Favorites

If a badge is still meant to signal trust, then limiting that signal to music ignores where the next credibility crisis is already unfolding.

AI-generated podcasts are not a future concern; they are a present reality, scaling rapidly with fewer guardrails and disclosures across platforms. Unlike music, where listeners may tolerate experimentation, podcasting has always relied on connection, voice, and authenticity.

If platforms are going to draw a line in the sand for music, they don’t get to stop there.

Because in an ecosystem where anyone—or anything—can publish at scale, verification can’t be selective. It has to be systemic.

Otherwise, the checkmark doesn’t restore trust. It just exposes where it’s missing.

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.

Is AI Really the Fix for the Overload of Streaming Ads?

Dr. Ed Cohen
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Is AI Really the Fix for the Overload of Streaming Ads?

E-Marketer ran an article on April 24 by Grace Harmon, “Spray-and-Pray Tactics and Ad Repetition Risk Alienating Audiences,” that sounded very familiar. The last two Januarys, I conducted ad hoc content analyses for this column while streaming local broadcasts of NHL games on the ESPN app. The repetition of spots in a 2½-hour game was ridiculous. A major agency’s research now says the same thing.

The article cited a recent Omnicom study that raised the specter of “negative reach.” It is defined as “the point at which repeated impressions frustrate consumers and damage brand perceptions.” Per Omnicom, over 60% of consumers report seeing the same ad multiple times in a single session on streaming and social platforms, resulting in rising frustration.

Supposedly, half would pay something to avoid seeing the same ad multiple times in a single piece of content. However, it’s OK to see the same ad across platforms.

In my 2026 ESPN analysis, I was presented with 15 spots for Tremfaya, ten spots for TikTok, and nine for Kalshi. If you’re keeping score at home, that’s 34 spots for just three advertisers. If memory serves, Tremfaya had more than one execution, but both TikTok and Kalshi offered me the same commercial each time.

When Streaming Ads Wear Out Their Welcome

Last weekend, we watched the last two episodes of this season’s The Pitt on HBO Max. Did you know that ro.com offers a GLP-1 equivalent? We do, because Serena Williams told us — and told us again, sometimes multiple times in the same break.

What’s the fix for this serious problem in streaming advertising? E-Marketer had some advice:

  • AI can help by making minor variations of copy, visuals, and formats based on geography, recent browsing activity, and audience segments to keep creative fresh while maintaining relevance.
  • Agencies can then be used to refine top performers and preserve brand quality by adding strategic oversight and creative polish. They can also help develop high-impact campaign concepts that can be iterated on at scale through AI.

What brilliant suggestions! Let’s have AI fix the problem! If only TikTok’s agency had used AI to modify the spot enough so that I would have enjoyed the ten spots they ran in a single hockey game. Perhaps AI could fix it for ro.com when their agency ran three spots in a three-spot break.

Am I stupid (don’t answer that) or does this article appear to say that far too much frequency is ok if the spots are changed just a bit by AI? This reveals something sad about the thought process in the advertising world today. Rather than question whether this is the best use of an advertiser’s budget, let’s just modify the creative a bit using AI and keep wasting additional money on streaming. I’m not suggesting that streaming advertising doesn’t work, just that overdoing it — which costs money — is wasteful.

Radio and Audio Deserve a Seat at the Budget Table

Wouldn’t the more logical answer be “Perhaps we can repurpose some of our budget to other media?” Could radio or audio be an option? While I understand that pharma is much tougher to do in audio because you can’t hide all those awful potential side effects in unreadable text on a screen, could TikTok or Kalshi put some money into audio? Just tell your agency that you don’t need a ten frequency in a single sports event.

If one medium is saturated, try spreading the message around and find the people that don’t use — or are light users of — the first medium.

Meanwhile, Omnicom’s report points to their efforts to get around the problem in the programmatic space. Their release heralds the company’s collaboration with leading streamers such as Amazon, Disney, Fox, NBCU, and others on a content planning capability to better manage frequency. Sounds good.

But to my mind, that means that with the same budget, the spots might be spread around more streams. Which might mean landing on less desirable or less appropriate content for the message. I’ve seen Dove spots on streamed hockey games (and not Dove for Men). Yeah, that works.

The Fix?

Agencies sometimes do strange things, and that hasn’t changed since the early days of electronic media. The burden falls on the advertisers to understand where their dollars are going and why.

Let’s reframe the old John Wanamaker quote about not knowing which half of his advertising money was wasted.

Instead, ask: “I know half of my impressions are overkill and bothering my potential customers, but I don’t know which half?”

The answer to that question is: in an age of massive data, go find out. And when you do, ask how other media can supplement your message, reach more light users, and improve your sales.

Let’s meet again next week.

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

The Foo Fighters Showed Up — And Two Rock Radio Stations Seized the Moment

Terrie Carr
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The Foo Fighters Showed Up — And Two Rock Radio Stations Seized the Moment

It was a wild week in the great rock state of New Jersey. While my column usually focuses on artist interviews, this week delivered something special. Consider it one for the New Jersey rock record books that two radio stations capitalized on.

The Foo Fighters announced two intimate shows at remarkably low ticket prices. First, Irving Plaza in NYC — capacity 1,200. Second, the beloved Starland Ballroom in Sayreville — capacity 2,500. Low prices. Old school ticket distribution. Enormous buzz. Especially for the New Jersey on-sale.

Fans lined up at Starland Ballroom just after midnight. Cars stretched for miles along local roads, all waiting for the box office to open at 10am. It was reminiscent of the old Ticketron and Ticketmaster days — camping out, waiting, making it an event.

And the fans loved every minute of it.

In our digital world, genuine in-person community moments are rare. Consequently, the Foo Fighters’ announcement created something special. Social media lit up immediately. Fans posted videos from the ticket line. Comments celebrated the music community. People described how “cool” everyone was — sharing coffee, helping strangers, playing music together. Connection still matters.

Local radio got involved too. As a former PD, I immediately started streaming local stations to see who was buzzing. Two programs nailed it — regardless of staff size or ticket allotment.

First up: Q104.3 NYC — The Jim Kerr Rock and Roll Morning Show

Jim’s recently named co-host Trevor skipped the NYC studio Wednesday morning. Instead, he drove to the enormous Sayreville ticket line — already stretching over a mile just after 3am. Trevor shot and edited videos from his car for the station’s social media. He called Jim Kerr live from the scene. He put fans on air, delivering play-by-play of the “Foo Mania” experience. Outstanding execution.

When I messaged Trevor at Q104.3 to say “Amazing Job,” his response said everything: “This is the kind of radio I grew up listening to. Jim and I had so much fun doing it — we have more things like this planned for sure.”

Next: WMGM Atlantic City — Morning host Matt Murray

Matt flies solo every morning. That didn’t stop him. He turned his listeners into reporters — having callers phone in live from the line and send photos directly to the morning show Facebook page. Furthermore, he made the ticket grab an on-air community event that listeners actually participated in.

One fan comment on the MGM Morning Show page captured it perfectly: “You can’t imagine how awesome everyone was. Sharing coffee, chairs for those that didn’t have them, food once the tent opened. Everyone was so chill it was fantastic. Made the 6 hours go pretty damn fast actually.”

Local radio can still get involved in moments like this. Moreover, you don’t need presents, tickets, or a band interview. You don’t even need a huge staff. A cell phone, a signal, and a social media account are all you need to be part of the experience.

Matt Murray told me directly: “I heard about the show the night before — informed my listeners on social media and told them — tomorrow I need you to inform me. I was not going to miss the opportunity to be live and local just because I fly solo every morning. No way. We needed to be there in some way.”

Kudos — or should I say FOOdos — to both stations and shows.

And Speaking of Kudos — Is Metalcore the New Mainstream? Absolutely.

Sleep Token, Bad Omens, Spiritbox — these bands dominate rock right now. Additionally, Dayseeker is about to join that conversation in a big way.

Dayseeker will likely grab their first #1 at Rock Radio with “Crawl Back To My Coffin” from their sixth studio album, Creature in the Black Night. The track will also deliver Spinefarm Records their first number one as well.

I first saw Dayseeker at a radio show my then-station produced — Rock the Rock Fest in 2024. I started following the band immediately. Mesmerizing modern metal with the right injection of scream and hook — their rapid growth made complete sense.

Fast forward nearly two years and Dayseeker hit #1 on the Mediabase Rock Charts. Furthermore, they delivered a killer show at Starland Ballroom in Sayreville on Sunday — the night after the Foo Fighters. A genuine Jersey rock weekend. Steel Panther even played Starland on Friday night. We know what we’re doing here.

Check out my recent interview with Rory Rodriguez from Dayseeker — where we discuss Metalcore as the new mainstream — available now on the Carr Stereo Podcast in both audio and video.

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 Daily Wire Undergoing Round of Layoffs

BNM Staff
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The Daily Wire Undergoing Round of Layoffs

A round of layoffs is underway at The Daily Wire, Barrett Media has confirmed.

The first reports surfaced on Friday afternoon. Political reporter Cameron Arcand took to social media to share that he was included in the round of layoffs enacted.

“I was impacted by layoffs today at The Daily Wire, so I am looking for opportunities in journalism/communications here in D.C.,” wrote Arcand.

In a statement, The Daily Wire confirmed it was undergoing a round of layoffs.

“Today, The Daily Wire made a difficult decision to restructure the organization, which included layoffs to a number of teams,” a company spokesperson confirmed to Barrett Media. “We are deeply grateful to those impacted. Their contributions were instrumental in building The Daily Wire into what it is today.

“The cuts were largely concentrated at our Nashville production office. As the company has invested in new formats, locations, and production models, our footprint there has evolved. Over the last year, we have added production staff in D.C., the Northeast, and Florida. This step allows us to focus our resources on an ambitious slate of new entertainment projects set to release this year.

“Additionally, we will continue to invest in our editorial team and investigative journalism where we have already added numerous new reporters across the country and established a DC bureau with a seat in the White House briefing room.”

It is unclear how many members of the company’s staff have departed as part of the ongoing exits. This round of layoffs at The Daily Wire follows cuts in March 2025.

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.

Alex Jones Signs Off From Infowars, Vows Immediate Return With New Venture

BNM Staff
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Alex Jones Signs Off From Infowars, Vows Immediate Return With New Venture

After nearly three decades on air, Alex Jones broadcast his final episode of Infowars Thursday night — and he wasted no time promising he’d be back.

Jones ended the show with a defiant pledge to launch a new program, directing his audience to AlexJonesLive and a companion app he described as already operational.

“They’re turning the power off at midnight,” Jones told viewers as a countdown clock ticked toward the studio shutdown. Rather than treat the moment as a farewell, he framed it as a starting line. “We’ve only just begun to fight,” he said, urging his audience to follow him to the new platform.

Jones had already set up a new phone app and websites ahead of the transition, including one selling the dietary supplements, clothing, and merchandise he regularly hawks on air. His personal X account — where he’s built a following of 4.5 million — remains active and unaffected by ongoing court proceedings.

Jones also said this week that he has a new studio nearing completion. He insisted the legal fight surrounding Infowars actually works in his favor — buying time for his new operation to get off the ground. “We’ve launched our operation,” he said. “You’ve walked into our trap, because we don’t start fights, but we finish them.”

The shutdown comes as a long-running dispute over the future of Infowars moves through the courts. Satirical outlet The Onion has been seeking to take control of the brand. Infowars was liquidated to compensate families of Sandy Hook school shooting victims. They won more than $1.3 billion in defamation judgments against Jones.

A Texas appeals court granted Jones a temporary reprieve this week. It delayed any immediate takeover and pushed the fight toward the state’s supreme court.

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.

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