Brian Kilmeade has spent three decades at Fox News, and he’s not slowing down. In fact, the longtime host just released a new history book. Meanwhile, he still co-hosts FOX & Friends and the weekend show One Nation. He also leads the nationally syndicated news/talk radio program The Brian Kilmeade Show.
The book, Uniting the States: Six Crucial Moments That Forged the American Miracle, is available now. It highlights six lesser-known turning points in early American history. Specifically, Kilmeade covers the Boston Massacre, Washington’s battlefield strategy, the Battle of New Orleans, the Louisiana Purchase, Shays’ Rebellion, and John Quincy Adams’ fight against slavery.
“I do this series on Fox Nation called What Made America Great,” said Kilmeade. “What I’m always astounded by when I go back in history is that certain things happen in our past that are unthinkable, illogical, and they always seem to break our way. I thought, what are those six moments? There were like 20, and I just knocked it down.”
Instead of a war-heavy approach, Kilmeade chose to emphasize how the country came together.
“I didn’t want to just focus on wars,” Kilmeade said. “I just thought if I bring up those moments, not well known, from this angle, I’ll be able to give people additional reasons to be proud of our country.”
Beyond the subject matter, Kilmeade loves the writing process. Above all, he enjoys the research, which comes without a daily deadline.
“I enjoy the research of it,” the longtime Fox News host shared. “The fact is, it’s not a deadline. With this, all I have is a two-year ramp-up. I’m able to organize the research and relax, think about it, and I think the research part of it is the best.”
How History Shapes Today’s Headlines
That research doesn’t stay on the page. Instead, it shapes how Kilmeade reacts to breaking news on television and radio.
“I cannot tell you how many times I’m reacting to the news, especially in the talk show format,” said Kilmeade. “I do the radio show, and I do FOX & Friends. A lot of times, things happen and it reminds me of something I studied. I’m not going to recite law, because we have so many great lawyers as anchors. But I can give some context about what happened in the past.”
Better yet, that knowledge sticks. Kilmeade can’t say the same about his phone.
“I lose my phone 20 times a day,” Kilmeade said. “I don’t know where I put my iPad. But for some reason, this stuff sticks. It really helps me see the big picture through all these historic times that we’re in.”
Kilmeade also brings that history to live audiences. Fox Nation streams his stage shows, which recreate the six moments with scripts and production value.
“It’s my pushback on the war on history, the pulling down of statues and everything, which I found extremely disturbing,” said Kilmeade. “So I thought, okay, let’s just go about it, because very intelligent people just don’t remember anything about American history. I do it in a fun, entertaining way.”
Reflecting on 30 Years at Fox News
Of course, Kilmeade has plenty of history of his own. He’s been part of Fox News since 1996, and the network recently celebrated its 30th anniversary.
“I feel so lucky that I was able to stay here this long,” the longtime Fox News host shared. “Fox News kept adjusting, and I was allowed to stay through it. They would have had the same success without me, but I’m just so thankful to be a part of it.”
Along the way, the building itself has changed dramatically.
“My office was on 17 forever, now it’s on 21,” Kilmeade said. “We’ve been all over this building with studios. So it does not feel like the same job. It feels dramatically different.”
Even so, Kilmeade doesn’t view his schedule as a grind.
“When people say, oh, Brian, you work a lot, I feel like going, do you realize this isn’t really work?” said Kilmeade. “This is really what I want to do. I don’t need to run a marathon. I don’t need to golf. This is really what I like doing, talking to interesting people about the things that matter most, at the number one network that’s always thinking about what’s next.”
Advice for Karoline Leavitt
Looking ahead, Karoline Leavitt joins the network next month. Kilmeade doesn’t think she needs much coaching, but he did share what makes Fox News tick.
“She’s as talented as anybody that’s ever walked in the building,” said Kilmeade. “I don’t think she needs any of my advice. I’ve heard Democrats even comment how great a press secretary she is. She asks great questions. She anticipates questions, the research that goes into the preparation, the willingness to work, that’s all of it.”
Kilmeade also pointed to the network’s culture.
“If you know her, there’s no ego,” the longtime Fox News host shared. “The one thing about Fox, they don’t hire egomaniacs. It just doesn’t work. There’s no difference between the talent and the producers.”
As for her future, Kilmeade offered a bold prediction.
“You mark my words,” Kilmeade said. “She’ll be a dominant host very soon, as much as she can as a new mom.”
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Meet The Leaders is a special 8-week series created in partnership with Point to Point Marketing. Today’s feature is on the Chief Operating Officer of the Locked On Podcast Network, Carl Weinstein. Follow along with the series and revisit former conversations by checking out the entire category.
Carl Weinstein serves as COO of the Locked On Podcast Network, where he has played a pivotal role in building the company into one of the leading sports podcast networks in the country. Joining the organization in 2018, approximately two years after its launch, Weinstein brought a unique combination of sports media, business development and entrepreneurial experience to the growing network.
He has overseen key areas of the business, including operations, sales, marketing, finance and product strategy, while helping guide its expansion and long-term growth. His leadership also played an important role in Locked On’s venture capital financing process and the company’s acquisition by TEGNA in 2021. Under his tenure, Locked On has continued to expand its reach, develop new programming opportunities and strengthen its position in the evolving sports media landscape. At Locked On, Weinstein has helped champion a talent-focused business model that combines local sports expertise with national scale, while emphasizing audience-driven programming, video expansion and emerging technologies.
In this edition of “Meet The Leaders,” we dive into his impressions of Barrett Media’s Top 20 in advertising series, the launch and early success of Locked On Hit, the power of unaided brand awareness, and why Locked On has sights on further growth in the women’s sports space while remaining focused on a sports-first-and-foremost product.
Weinstein spoke with Barrett Media from his offices in Los Angeles, CA.
Editor’s Note: Answers have been edited for clarity and length.
John Mamola: We just wrapped up our first ever Barrett Media Top 20 series for advertising. Everything from local, national, podcast, advertisers, agencies and account executives. As the COO of one of the top sports podcast networks, what elements stuck out to you about the series overall?
Carl Weinstein: I think it showed just how robust the category is. Obviously, I focused a lot on the podcast space and the advertisers listed. We’ve just seen tremendous growth in terms of advertisers coming into the space. Not just the ones that have been in podcasts for quite a while, but brands that maybe not have been traditionally in the podcast space. Maybe sticking to more traditional audio formats.
So, it’s just robust. The growth is great. The breadth of advertisers, brands, types of advertisers continues to grow. That’s been a great parallel to the growth of podcasts overall for the last decade plus.
John Mamola: We had over 140 people vote in the series with the voting sample representing 61 media groups in total. When you look at these types of lists, what do you look for? What do you take away or act on when you see rankers like this?
Carl Weinstein: The first thing I look for is who’s advertising with us and who’s not. Then we follow up on that. That’s probably one of the most valuable things for us specifically that comes out of the list.
That was a ranking that was done by voting, not necessarily by volume of advertising or dollar amounts. There’s different ways to look at that, but certainly getting a sense of who’s leading different categories and making sure we’re connecting with them. We should be working with them if we’re not and that we’re strengthening our relationship if we are.
John Mamola: I know we spoke earlier this year around the tenth anniversary of Locked On. It’s been another year of growth for Locked On. I see the brand all the time on my LinkedIn feed. It does an amazing job of telling its own story. Looking at 2026 overall, what has been the biggest difference compared to prior years for the brand?
Carl Weinstein: Year eleven looks a lot like the previous ten. We have continued to have robust growth across audio, video, and our social platforms. Not that audio ever stopped growing, but we’ve seen a nice resurgence in audio again. The growth of our flagship podcast has been really robust. Everything’s trending well ahead of 2025. That’s before even accounting for Locked On Hit, which is the brand-new product that we launched early this year.
We’re on track to do what we set out to do and what we said we would do, which was hit a billion listens and views on audio, video and social platforms this year.
John Mamola: What’s been the early results so far for Locked On Hit? Not just the results with viewership and consumption, but also how advertisers have responded to the new venture?
Carl Weinstein: Out of the gate, it’s everything we’d hoped it would be. We launched the NFL in August, college football in September, and we’re still filling in college. Now we’re in the middle of launching the NBA here in October. In just the first two months of the NFL, based on those early results Locked On Hit looks to be our fastest growing product that we’ve ever launched.
What’s been very encouraging about it is it’s reaching both new audiences that are more socially native audiences and driving additional sessions with our established audience. Exactly what we hoped the strategy would do, it’s playing out that way.
So it fills out the portfolio for us that includes our daily flagship podcasts that we built the network on. Those are still growing. We added squad shows in the last few years to team coverage. Those are roundtable shows with local experts, including former players. We’ve added postcasts, which are post-game podcasts. They go live first, and then they’re on demand for our MLB coverage. And now our Locked On Hit product, which is a creator-driven short-form coverage with each host delivering multiple hits a day.
We’re super encouraged by what we’ve seen so far.
John Mamola: In regard to MLB, this winter is going to be very interesting. How are you planning for content in the MLB offseason if there is any sort of work stoppage or lockout? With as many teams and creators that Locked On covers, is there a particular strategy that you are working on if there’s no baseball?
Carl Weinstein: Well, we survived COVID. So, I think we can weather a potential lockout. Our strategy does shift a bit. In fact, we’ve started working on this plan already. We’ve spent a lot of time working with our hosts on what I would call offseason topics. That can be anything from lookbacks, top ten lists, deeper analysis of the team, and reliving previous seasons.
Hopefully there won’t be a delay to the season. But if there is, digging into what that looks like when baseball returns. What maybe a shortened season looks like. What the impact is to each individual team. There’s a lot of angles that we can take. For better or worse, we had experience doing this during COVID and came through with flying colors.
John Mamola: As you know, when it’s a labor negotiation, it’s not necessarily team-specific like much of Locked On’s content model.
Carl Weinstein: The strategy may not be team-specific, but the content is going to be team-specific no matter how you slice it. That’s really what matters to the local fan anyways. That’s how we can look broadly at how we’re going to get through it. Then locally at how we’re going to tackle it.
John Mamola: Take me into the planning stages of what led up to creating Locked On Hit. What was the opportunity that you saw, and how did you strategize the approach moving into the NFL season?
Carl Weinstein: We saw changing habits in how younger audiences were following sports. There’s another trend behind it that’s going on as well. It’s harder and harder to follow games and follow your teams because you need multiple streaming apps.
There’s less RSNs. Now there’s a variety of over-the-air coverage. We think that has an impact too on how people are able to follow their team. They look for the one place they know they can get coverage every day. Podcasts, and now podcasts on social are particularly attractive in that regard.
We saw two opportunities there.
One was that consumption was different for different types of audiences. At the end of the day, our goal is to be the local sports leader. How we reach people can change and vary in a number of ways. We need to be flexible, innovative, adaptive, and that’s really what Locked On Hit is in large part.
Then we saw this other trend that it’s harder to follow your team with games being on so many different platforms. It’s hard to remember where games are sometimes. It’s also more costly. Those things together really lent themselves to exploring the opportunity.
John Mamola: The Locked On Network stated last week that it was approaching 60% unaided brand awareness among sports fans. That’s a massive win, especially with the size of the sports content ecosystem that Locked On plays into. What’s the key to growing that brand awareness as that ecosystem continues to grow a little bit more each year?
Carl Weinstein: First of all, the best marketing you’re ever going to have is a great product. We focus on product a lot. The better the product is, the better the marketing is just inherently.
We’ve always been very fortunate to have organic growth. That’s been a huge driver for us. It’s sort of a misnomer. Organic growth doesn’t mean effortless. Optimizing discovery is both art and science. How people find podcasts is changing dramatically. In the earlier days of Locked On, in-app discovery and word of mouth were huge drivers of audience. Then YouTube became the discovery engine. Now social media in a variety of forms is number two behind YouTube.
At least that’s what we see. We spend a lot of time in optimizing and looking at how we use social media. It’s product as well as maximizing discovery through organic growth.
John Mamola: YouTube is surely becoming the place for discovery for podcasts. But with social media specifically, are there different platforms that work better than others for Locked On?
Carl Weinstein: They work different. They appeal to different audiences. The strategy does need to be somewhat bespoke to that platform.
First of all, there’s a certain way people consume TikTok content and that tends to skew younger. Instagram fits the middle of the age spectrum in terms of how demos and people use Instagram. Facebook is still powerful as well, particularly for men and particularly for some of the older end of the demo. Every one of them is valuable and it’s really for us understanding how content, social media is best used in that format.
There’s something behind Locked On Hit as well. We also know that just taking our original flagship podcast and cutting it out and putting it into social isn’t necessarily the way people on TikTok or Instagram want to consume their content. A big part of Locked On Hit was taking a very different approach to creating content that is specific for those formats.
John Mamola: Artificial intelligence continues to be the biggest buzzword across the media industry. How have you seen AI influence how sports fans have discovered Locked On over the past six months to a year? Because of AI, have you had to switch strategies?
Carl Weinstein: AI is such a big topic overall. We’ve embraced AI wholeheartedly, but to be very clear. AI will not replace our hosts. Our hosts do things that only humans can do. They deliver nuanced insights and analysis and can entertain. Above all, they connect with audiences in ways that AI can’t.
That said, we use AI across the entire organization. It’s part of the show prep. We use AI to optimize distribution, create compelling social media, and in other ways to support other marketing functions. It’s great with analytics, obviously. Using all that helps us drive discovery. Then just generally supporting our business operations as well. We fully embrace AI as long as it doesn’t cross into the realm of content creation.
John Mamola: Switching back to advertising. You spoke at the NAB in April of last year and shared how sports content tends to do better with holding onto advertising clients than other categories. We’re now in 2026 and Podscribe’s latest September data agrees with you. The top ten podcast advertisers combined to spend $41 million last month with seven of those advertisers spending the most in sports. What’s the messaging to advertisers that Locked On provides that makes the brand stand out to advertisers looking for sports to spend their dollar?
Carl Weinstein: There’s a passion and an urgency to sports that really doesn’t exist in many, if any, other genres. That’s why you see the stats that you just discussed. That’s why sports is going to be more resilient and always will be more resilient if there were to be a downturn. But for Locked On, our message is pretty simple. It’s local passion at national scale.
Sports fans are fans of their teams first. We are the number one way you can reach every fan in their most passionate moment, which is around their team. Discussion before games, after games, in season, in the off season, during the draft, during trade windows. That’s something you uniquely get and can tap into with Locked On is this local passion. We deliver at national scale. One stop and you’re reaching the entire audience that we deliver on any given day. We sell Locked On as a network. So, on any given day, our NFL network is one of, if not the biggest sports podcasts in the country. Same with the NBA and down the line.
One stop, you tap into this massive passion at this national scale. It’s delivered through one network and with hosts that have this very deep connection to their audience.
John Mamola: Podcast consumers continue to shift to using video more often when it comes to consumption. There’s a good balance on use between video and audio, where the consumer is using both pretty equally. When it comes to ensuring advertising works to the highest level, is there a difference in how you coach your talent in regards to presenting sponsor reads for audio and video? Or is it one and the same?
Carl Weinstein: It’s basically one in the same. But you’re really hitting on something else that’s a trend in the business and very important.
There’s been this turn back towards the host read advertisements. That’s the way the business was when I first got involved with podcasts. It evolved somewhat to more digitally inserted ads many years back and has shifted now back to much more heavily skewed towards host read ads. The reason for that is because advertisers can tap into the entire audience, both audio and video with a host read ad. There’s nothing more effective than a host read ad for delivering that connection they have with their audience. We are believers in the power of the host read ad.
It runs the same on audio and video. There’s some things we do on video like graphic overlays, QR codes, and a number of things that are important to advertisers. That certainly adds some more value. But it’s the same connection that the host has with their audience on both platforms.
John Mamola: It’s no secret that some broadcast companies are crafting what the Locked On model for podcasts has been for the last decade. Even companies without a sports broadcast station in the markets they operate in. How do you battle against that approach by broadcast companies that engage in that approach where the megaphone of radio is their marketing weapon?
Carl Weinstein: This may surprise you, but we don’t respond. We focus only on what we can control, which is our own business, our own strategy, executing our own plans. We stick to our model and mission. Generally, we’re not compelled to do something one way or another because of competition. We just simply execute our strategy regardless.
By focusing on the things we can control and produce the most compelling daily team coverage. We are expanding into all the different ways and platforms we can do that, while delivering outstanding results for our advertisers. But also building a powerful company culture. At the end of the day, people are what make everything go. If you have a staff that’s skilled, passionate and inspired, the results will follow.
That comes along with our strategy to being the most talent-friendly organization in the media business. If we do all that consistently day in and day out, the rest takes care of itself.
John Mamola: You’re not foreign to this, but the rise in women’s sports, especially with the WNBA, has been very impressive. However, looking at Locked On, there’s not team-specific podcasts for women’s sports as of yet. I’m assuming Locked On has some plans to cater to those audiences as well.
Carl Weinstein: Yes. We do cover women’s basketball, but as you noted, we haven’t delved into team-specific. Women’s sports is the hottest growing area in sports right now. We are absolutely following it and keeping our eye on it. When we find the right point of entry, then we’ll get into the space in a more expansive way.
You are right. That one is definitely on our radar. While we’re looking at expanding Locked On in terms of the ways we reach our existing audience and our existing teams in terms of both platform and the types of content we deliver, women’s sports, in particular basketball would be most likely our next point of entry.
I can’t make the commitment as to when we’re going to do that exactly, but that would be the most logical point for us.
John Mamola: I know when we talked last, I asked you about the merger with TEGNA and Nexstar. That was about four months ago. You stated you’re optimistic about being part of a larger media company with a bigger footprint but still operating as normal. It’s been four months. Have you had any additional conversations about what the assets would be at your disposal when and if this merger finally goes through?
Carl Weinstein: No. We are business as usual. In fact, even since that last conversation, I’d say just completely running this business like we always have. It’s been a non-factor, non-issue, and we’re left out of whatever is going on behind the scenes. It’s not anything we’re part of.
John Mamola: Is it hard to plan for the future when you really don’t know what will eventually happen?
Carl Weinstein: We have not found it that way. I’d say it’s probably similar to how we look at the question about competition. We just keep our head down, and execute our plan. If we’re growing, we’re successful, and we’re delivering, we just think the rest falls into place.
John Mamola: A lot of sports podcast networks continue to diversify their portfolio of content with stepping outside of sports and into culture products. Has there ever been a thought of doing something similar with Locked On?
Carl Weinstein: Sports are what we are all about and what we will be all about in the future. There are so many ways we can grow from this base. Especially with this audience and with the unique position we hold as the leader in local sports coverage. I think we’ve got plenty to do in the sports vertical.
John Mamola: Moving into 2027, what’s the biggest opportunity piece that’s on your radar for growing Locked On moving into 2027 and beyond?
Carl Weinstein: Locked On Hit is the growth engine for 2027.
It’s super exciting and a really compelling product. The early results have been great. That’s where we’re dedicating a lot of growth energy and focus right now. Beyond that, I can’t really predict the future, but we’ve always been flexible and innovative and tried to be very opportunistic. As long as we’re guided by the things that are core to our business and our principles, being the local sports leader, which for us means continuing to explore the ways we can deliver coverage for local sports fans. In particular leaning into free coverage. That’s really one of our strengths.
To show up where the fans are next. We started in audio, went to video, and social. We have our own OTT app now. We’re on the Station OTT apps. We have distribution on FASTTV. We are always looking at distribution growth and how we can continue to connect to local sports fans in all the ways and places they consume throughout the day.
On whatever platforms and form the content takes, which differs throughout the day. They may want to read an article about their team in the morning. They may want to listen to a podcast on their run. Maybe a break in the middle of the day where they’re hitting social media, so you want to be in all those places. Later in the day, FASTTV and YouTube can be a lean back sofa experience.
We just want to be and will be in all those places.
To learn more about Point-To-Point Marketing’s Podcast and Broadcast Audience Development Marketing strategies, contact Tim Bronsil at tim@ptpmarketing.com or 513-702-5072.
Thank you for checking out The Industry According To. Every Wednesday, 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 Bill McGathy, one of the most influential figures in rock promotion and artist management over the past four decades.
Bill began his career in national rock promotion at Polydor/PolyGram and RCA before founding McGathy Promotions in 1982. The company became a dominant force in independent rock promotion, helping labels, managers and artists navigate radio and turn records into hits. In 1998, he expanded into artist management with In De Goot Entertainment.
Today, Bill is founder, president and owner of In De Goot, whose artists have accumulated more than 50 number-one songs across Active Rock, Alternative and Hot AC. Its roster has included mega acts such as Shinedown, Halestorm, Theory of a Deadman, Black Stone Cherry, Biffy Clyro, GWAR and others.
That combination gives Bill a perspective few others possess. He experienced an era when relationships and independent promoters could move records, and he now helps artists compete in a business driven by streaming, touring, social platforms, data and direct relationships with fans.
So, let’s dive in.
*Editor’s Note: Answers have been edited for clarity and length.*
The Rock Health Check
Keith: You’ve spent more than four decades working across labels, independent promotion, artist development and management. From that unusually broad vantage point, what does the rock business really look like today? Where is it healthy, and where is it genuinely challenged?
Bill: The kids want to rock. You can see it across genres, as “electronic,” country and hip-hop artists are all bringing real instruments and rock riffs back into their music and live shows. It never went away, just like me! It’s not just nostalgia around established artists, but the excitement around the next generation of artists. We’ve even felt a resurgence around heavy rock — the kids are coming out for it! The challenge isn’t so much the music, but how much great music there is released every day. It’s finding a way to cut through the noise.
Promotion Then & Now
Keith: When you founded McGathy Promotions in 1982, we know what the goal was. Get adds and build hits. With radio airplay now only one part of a much larger ecosystem, what are the new priorities and marching orders for an independent record promoter, and what success do you measure them on?
Bill: The goal is absolutely the same, and it isn’t just about ringing the bell at number one. It’s about making sure the music genuinely connects with the audience, and that is about creating enough impressions for recognition … whether at radio, online, touring … it takes all of the pieces in lockstep to create a hit.
The Question No One Wants to Ask … or Answer
Keith: Rock radio says it backed away from currents because of audience demand, research and the quality of the music. But did it also lose interest when changes to independent promotion meant there was no longer as much money, access or promotional value attached to playing new records?
Bill: As you know, Keith, it has never been about the money with IDG. There is a sign on our door that says, “It’s the Music, Stupid!” That’s for me, because as a promoter, if you are true to your clients on both sides of the desk, the money will come.
On the artist side, you never ask your artist to compromise their aesthetics. And on the label side, you must make sure that what marketing money does exist is effective.
The ROI of a Hit
Keith: In an earlier era, enough label money and promotional muscle could help drive a decent-enough record up the chart. Even if that were still possible today, would the return justify the investment? Is a radio chart hit worth what it once was?
Bill: Charts could and still can bring attention to an artist’s work, but today chart movement is one of many pieces to artist development. We all are guilty of using “catchphrases,” but not to oversimplify — if you don’t take a risk on an artist you believe in, there will be no reward.
A big return on the investment for a touring band is the awareness, impressions and discovery in the market with that radio station. You can look at it like an amazing DSP PLAYLIST to promote your artist when they come to town. It 100% brings people to the show to enjoy what the artist does and buy merch on the way out. Now times that by 100+ markets!
The First Dollar
Keith: A developing rock band has a great song and a limited budget. You can make one serious initial investment: radio promotion, touring, streaming, social content or somewhere else. Where does the first dollar go, and why?
Bill: Keith, what an excellent question! You know, we have built so many of our artists over the years from the ground up by using all of the aforementioned elements. I promise I’m not dodging your question when I say at IDG, we use all of those elements depending on the artist’s music and their goals.
In the “good old days,” there was a budget for all of those elements. The paradigm used to change every 10 years. It now changes every 10 minutes! So I guess my final answer is whichever element is strongest for the individual artist in terms of the first move.
Wearing All the Hats
Keith: Here’s a hypothetical: The In De Goot management team swears Track 2 needs to be the single. The McGathy Promotions team working directly with radio insists it’s Track 4. The artist has always wanted Track 1. Who wins, and what ultimately settles the argument?
Bill: The IDG management team stands shoulder to shoulder with the artist, and all parties get their day in court, but ultimately the final vote is the artist.
Are Managers the New Labels?
Keith: As labels narrow their responsibilities and artists are expected to arrive with music and an audience already attached, have management companies like yours effectively become the new artist-development departments? Looking into 2027 and beyond, does the average band still need a record label?
Bill: Yes, but it needs to be the right home that will champion the artist. And at the right time.
Bands Are Brands
Keith: Brand partnerships were once only ancillary to an artist’s career. Today, sponsorship, merchandise, branded products and creative partnerships are becoming vital revenue streams. How much emphasis does In De Goot place on developing those opportunities, and how involved should management get?
Bill: In 2027, when there is instability in the domestic economy and the worldwide economy, artists having independent revenue streams have become paramount. Us as managers are heavily involved in helping them secure the right opportunities.
Building Longevity
Keith: You helped guide acts such as Shinedown and Halestorm through long careers spanning multiple albums and industry cycles. Talent alone clearly isn’t enough. What separates artists who build 20-year careers from equally talented acts that fizzle out early?
Bill: Before IDG got into management, the best manager I ever met was Elliot Roberts. Elliot taught me more about managing artists than anybody ever did. The best thing he did was introduce me to Neil Young! But after that, he told me, “Hey, if it ever isn’t fun anymore, stop.” Number two, “Your artist is never wrong. You need to find a way to see it his or her way.” If your artist calls you and says, “I need you,” you don’t say when, where, what day — you go to the airport and get on an airplane.
Our artists are able to build long careers because we have given them the tools necessary to accomplish their goals globally.
Are Festivals the New Radio?
Keith: Aftershock can feature more than 130 bands, only a fraction of which receive regular airplay, and still draw roughly 150,000 people over four days. We see similar results from Louder Than Life, Welcome to Rockville and other festivals. Outside of streaming, have festivals become rock’s most important discovery platform?
Bill: First of all, Danny Wimmer and his team are the best! They don’t choose their lineup based strictly on radio airplay. They look at all of the elements to decide what’s hot and what’s not.
Is the Next Explosion Coming?
Keith: Van Halen, Mötley Crüe, Guns N’ Roses, Bon Jovi, Metallica and Nirvana weren’t just successful bands — they became pop culture. Do you see another wave coming that’s capable of breaking through at that level, or has the business and audience splintered so dramatically that becoming a household name is now almost impossible?
Bill: The artists that you mentioned would be considered generational talent. There will definitely be that “new wave” that you speak of. There are currently artists on our roster that have achieved that goal (Shinedown), and we have several more coming. Watch out!
AI, Rock & Radio
Keith: What would it take for you to allow McGathy Promotions to work a fully AI-created rock record to radio — and would In De Goot ever manage a fully AI-created artist?
Bill: Nope.
That Really Happened
Keith: After decades in rock, radio promotion, labels, management and life on the road, you’ve seen more “I can’t believe this is happening” moments than most rock stars. Mayhem, illegality, enormous success — whatever direction you want to take it — what’s the story you love to tell that people have to hear to believe?
Bill: There are so many I would love to tell you, but unfortunately you’d need to sign an NDA! But just so everyone who is reading this knows: I’m writing a book (if I haven’t already signed an NDA regarding the artist these stories are about).
Bill’s Rule Book
Keith: Give one rule to every record promoter, one to every artist manager and one to every new artist. What are they?
Bill: 1) Record Promoter: Do what it takes (legally) 2) Artist Manager: It’s the music, stupid! 3) New Artist: Put together the right team
The Blank Slate
Keith: Last question — blank slate. Say anything you want to any sector of the industry. What do you want them to hear?
Bill: My mom lived to be 97. I not only have great “jeans,” I have great DNA! I’m not going anywhere! Thank you, Keith! This interview made me think.
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The Miami Marlins are not playing in the NLCS this year. Once again, the “fish” missed the postseason and have made baseball’s second season just twice since winning the 2003 World Series. However, the bigger story surrounding the Marlins isn’t their lack of success on the baseball field. It’s the amount of turnover of broadcasters in the television and radio booth.
Over the past 10 years, the Marlins have replaced their lead television play-by-play voice three times. Their latest broadcast shuffle also included the dismissal of analyst Jeff Nelson, studio host Craig Minervini and analyst Rod Allen. In the days following the broadcast bloodbath in South Florida, some interesting details emerged about the cuts.
While Nelson, Allen and former play-by-play voice Kyle are relatively new names in the organization’s broadcast history, Minervini is a grizzled veteran. He spent 25 years covering Miami Marlins baseball as the lead studio host across multiple versions of regional sports networks.
Yet, just one year after the Marlins and several other teams left FanDuel Sports Network to come under Major League Baseball’s production umbrella, Minervini is out. But why?
According to the Miami Herald, Minervini wasn’t effective at selling Marlins.TV on social media. Barry Jackson of the Herald reported that the team values broadcasters who have a significant social media presence and use it to promote the product.
So, is this the new norm? Are studio hosts, whose primary responsibility is to guide engaging discussions with expert analysts, now also expected to market their team’s television product? Let’s look at the numbers.
Minervini has an inactive account on X, more than 6,000 followers on Facebook and just under 3,200 followers on Instagram. Craig Mish, who is expected to replace Minervini, has more than 43,000 followers on X. But no official Instagram account or Facebook page.
Did the Marlins value Mish’s active X account over Minervini’s combined following on Instagram and Facebook? More importantly, why should follower counts matter when determining the value of an employee working for a Major League Baseball team?
Consider the Marlins’ in-state rivals, the Tampa Bay Rays, who are also playing in the American League Championship Series. Like the Marlins, the Rays left FanDuel Sports Network and moved under MLB’s production umbrella.
Rich Hollenberg and Doug Waechter serve as the team’s studio hosts. Hollenberg has fewer than 1,800 followers on X, while Waechter has just over 3,400. Combined, their following is smaller than Minervini’s inactive X account.
Should Rich and Doug, who do a hell of a job, be worried that they aren’t selling enough team subscriptions? Waechter posted just 12 times on X all season. He’s been inactive for a month despite the Rays’ impressive postseason run.
I understand the value of an all-in approach to social media when you work for a company. The more employees who share messaging about a product, the greater the potential to attract customers. Spreading your message through your employees can expand your reach.
However, reach alone doesn’t tell the whole story. Brand credibility matters. Engagement matters. Converting interest into paying customers matters, too. Turning your social media accounts into a running advertisement for your employer might generate exposure. But exposure doesn’t automatically translate into subscriptions.
Social media success also isn’t determined by how often you post or how frequently you share company messaging. Engagement depends on several factors, including the content, the audience and how platforms distribute posts. A large following doesn’t guarantee meaningful interaction, and frequent posting doesn’t guarantee results.
Links can create additional challenges. A broadcaster could have a massive following, include a link in a post and still struggle to generate clicks or engagement. You can buy followers, but you can’t buy genuine engagement. You can pay for reach, but you still have to earn trust.
If social media activity and follower counts are becoming important factors in a broadcaster’s job security with a Major League Baseball team, are organizations focusing on the right metrics of value?
Hell, why stop with broadcasters? Teams employ entire rosters of professional athletes who have their own social media followings, many of which likely dwarf those of their broadcast colleagues. If the goal is to sell subscriptions, why not make those players responsible for driving sales, too?
Of course, there’s a difference between asking employees to help market a product and making them accountable for results they may not control. Broadcasters can contribute to a marketing effort. But their social media followings don’t necessarily reflect their effectiveness behind a microphone or their value to a broadcast.
Simply put, the Miami Marlins are setting a dangerous precedent by suggesting that a broadcaster’s social media following should help determine their value as an employee.
There is a difference between asking employees to help promote a product and using follower counts to justify who deserves to keep a job. Experience, preparation, credibility and the ability to connect with an audience should carry far more weight than an algorithm or the number next to someone’s name on a social media profile.
If this is the direction Major League Baseball teams are heading, the Marlins are taking a terrible step toward redefining employee value for all the wrong reasons. A broadcaster’s job is to inform, entertain and connect with viewers. Social media can support that mission, but it shouldn’t become a substitute for evaluating the skills that make someone good at the job.
It should never be reduced to how many people they can get to click a link.
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If you follow sports media and don’t know the name John Fanta, you will. At 31 years old, Fanta could be considered one of the fastest-rising stars at NBC Sports. Last year, the Cleveland native joined the network full time after several years building his profile calling college basketball games for FOX Sports and hosting podcasts for The Field Of 68 media network. His high-energy, enthusiastic approach to sports even caught the eye of Barstool Sports founder Dave Portnoy, who offered Fanta an opportunity to join the company before he ultimately signed with NBC Sports.
Now entering his second year with NBC Sports, Fanta is bringing his talents to his own weekly program, titled after a segment he conceptualized during his first week on the job.
“During my first week [with NBC Sports], our wardrobe department put out a suit for me to wear even though I wasn’t going to be on camera. I put the suit on and did my game breaks and brought the energy. Then I got a call the following Monday saying that energy was infectious, and they tasked me with coming up with ideas on how to do more,” said Fanta. “I thought about a segment showcasing the wild and wacky of college football in 60 seconds. Hence, I pitched Fanta in 60.”
The concept was a smash hit, becoming a fan favorite by matching colorful commentary with Fanta’s unmistakable energy. From its launch, the segment lasted throughout the college football season and helped Fanta grow his profile within NBC Sports.
From Segment To Show
Because of that energy, Fanta was granted opportunities across the NBC Sports portfolio. From college football to the NBA and, most recently, MLB Wild Card coverage, Fanta has become one of the more recognizable talents for viewers of the network. So much so that last month, Fanta launched a weekly program on NBCSN titled Fanta In 60, based on his original concept.
“I wrapped up coverage of the Kentucky Derby in May. Alexa Maremaa [NBC producer] approached me about doing a show. I’m always about saying yes, but this was the quickest yes I could say,” explained Fanta.
The show is designed as a recap of the top stories from the weekend, but with a unique approach to audience engagement. Instead of a typical studio program where commentary is the focal point, Fanta wanted something that felt different from what traditional studio programs provide.
“Fan engagement is everything to me. I want to blend the social media audience into this show where they have a voice,” said Fanta. “I grew up a sports talk caller, and I would share my takes when I was a teenager. So, I wanted to involve the fans. We talked throughout the summer and then launched the show.”
Fanta In 60 airs on Monday evenings as part of NBC Sports’ push for more studio programming. The Monday night program fits perfectly with Fanta’s growing schedule of play-by-play assignments and on-site contributions for the network.
Fanta called his first year with NBC an absolute dream come true, not only because of the number of opportunities he’s been allowed to pursue, but also because of the team environment and support the network has shown him.
“You want to be in a place that believes in you. One of the biggest reasons I joined NBC Sports is I would be in the role that’s I’ve been in calling games, but college basketball gave me my ‘in’ to this industry. But it’s not the only thing I want to talk about in my career,” said Fanta. “NBC has been willing to let me expand my horizons with different assignments. Versatility is everything in this business… I couldn’t have scripted year one any better.”
A Digital Entry Point
While growing up in Cleveland, Fanta fell in love with the hometown voices of his beloved Northeast Ohio teams. Tom Hamilton, Joe Tait and Jim Donovan were the soundtrack of his youth. But when deciding on a path for his career, Fanta opted for digital as his starting point.
“I graduated from Seton Hall in 2017. At the time, the digital space was opening up opportunities,” said Fanta, who explained he was close to beginning his career in television in Odessa, Texas. “Rick Gentle [senior associate commissioner of broadcasting, Big East Conference] reached out to me about launching a digital show surrounding the conference. Jay Wright [former Villanova head coach] was pushing the conference to start their own network. So, I went with the idea to see where it goes.”
The success and growth of that leap of faith led to traditional linear opportunities for Fanta, first catching the eye of executives at FOX Sports. Fanta called basketball games for six seasons before joining NBC Sports.
Understanding the role the internet played in his career growth, Fanta doesn’t consider himself an internet sensation.
“I try to bring that energy to any platform I’m on. But it’s not my goal to wake up in the morning and aim to be an internet sensation,” said Fanta. “In the here and now, it’s about how do we deliver on television with the next assignment. I know that’s been out there, but it has played a major role for me. I just don’t want to be defined solely as that for the next 50 years.”
Instead, Fanta makes a point of making every opportunity and every delivery as authentic as possible. He says it’s never been more important to connect with the viewing audience by giving them something that enhances their experience.
Sports is Fanta’s passion, and he always aims to showcase the energy he brought during his first week of in-game updates across every touchpoint with the NBC Sports audience.
“With anything I do, it’s, ‘I get to do this.’ The moment that you don’t give everything you have to the assignment, to me, that’s wrong in our industry. Because how many people would kill for these opportunities that we’re given?” explained Fanta.
That passion is why Fanta consistently works hand in hand with NBC Sports’ digital teams. Navigating unique ways of developing content that works for both traditional television and digital audiences.
“Where in a time if you can bring it in the digital and social space, having that on linear isn’t a bad thing either. Ten years ago, there were two separate lanes. As time has gone on, people now say if they can do it in one place, why not the other?” questioned Fanta. “Fanta In 60 is a show that incorporates a lot of social, and it is part of the strategy. There’s not a day that goes by where I’m not thinking about how I can continue to find new audiences.”
Paying It Back
Versatility is everything in the business, as Fanta believes. He’s reinforcing that skill set with every new assignment for NBC Sports.
“What you do on the assignment, every word has to count. When the viewer is dedicating time to our broadcast, that’s the most important thing to them. Because they’re making the time to watch us,” said Fanta. “The product better be for the fan. Everything I do has to count no matter what it is. I look at any second on the air trying to meet and exceed the bar that’s been set. That’s what makes it fun.”
After the many experiences Fanta has had during his first year with NBC Sports, he gave back this summer by organizing a broadcast camp in his hometown. More than 80 kids interested in broadcasting attended the camp. They also received exclusive sit-downs with some of the industry’s top names, including Mike Tirico and Scott Van Pelt.
“It was one of the best weeks of my entire life. We got hands-on instruction with these campers, and it was such a powerful experience,” explained Fanta. “That’s what I wanted at that age. My advice to the industry is you have to believe in yourself, but you have to take that belief and do something with it.”
For Fanta, the broadcast camp was more than an opportunity to give back to the community that helped shape him. It was another extension of the philosophy that has guided his career from the beginning: Believe in yourself, say yes to the opportunity in front of you and then find a way to make something of it.
That approach has taken Fanta from a digital show built around the Big East to six seasons calling games for FOX Sports. It has also led to a growing role across the NBC Sports portfolio. Along the way, he has turned a 60-second segment into a weekly program. He has expanded his work beyond college basketball while continuing to find new ways to connect with audiences.
Our call of the week comes from Dillon in Medina, Ohio.
At 31, Fanta isn’t looking to define what his career will look like 20 years from now. He’s focused on making the next assignment count.
Give the audience everything you have. Make every second count. And when an opportunity comes your way, do something with it.
For Fanta, that’s more than career advice. It’s the blueprint that got him here.
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.
Podcast advertising has something radio commercial breaks often lack: a voice the listener trusts. That’s why advertisers keep pouring money into it. It’s also why radio companies should be paying close attention right now.
Consider the numbers. According to The Podcast Study 2026 from Point-to-Point Marketing and Strategic Solutions Research, 40% of podcast listeners say a host-read ad has influenced their purchasing decisions. That’s a staggering figure, and radio can’t afford to shrug it off by thinking that’s a different medium. It isn’t. Podcast listeners are radio listeners.
Both tune in because they enjoy the person behind the microphone. The takeaway is simple: radio can borrow the podcast playbook, and it doesn’t need a massive budget to do it.
Radio’s strength has always been personality. Hosts build habits, and habits build trust. Podcasters understand that instinctively, which is why so many of their ads sound like a recommendation from a friend.
Meanwhile, too many radio spots sound like a committee wrote them, with no rhyme or reason behind the decisions.
Let Your Hosts Do the Talking
Your hosts should be reading way more ads. It’s the simplest move on this list, and it’s also the most effective. Listeners aren’t tuning in for the stopset. They’re tuning in because they like your hosts. Your job is to harness that connection as much as possible.
Podcasters also have programmatic technology on their side, which makes podcast advertising insanely personal. Terrestrial radio has a hand tied behind its back there, and that won’t change anytime soon.
However, radio can counter with something an algorithm can’t replicate: familiar voices. When a host that listeners know and trust recommends a product, the message lands differently.
Radio hosts already talk for hours every day. Adding a sponsor to that conversation takes some preparation and good copy. Furthermore, advertisers get a message that sounds natural instead of scripted, and that’s the whole point of the podcast model.
Make Produced Spots Sound Like Your Show
Host-read doesn’t have to mean live. A produced spot can work just as well, as long as the host’s voice carries it. Listeners will recognize that voice immediately. As a result, the ad feels like part of the show instead of an interruption.
Of course, a produced spot still takes effort. Give the host the real story behind the advertiser, and let the host add a personal touch.
Otherwise, the spot sounds like every other commercial on the dial, and listeners tune it out. Think about how a podcast host sets up a sponsor: a quick story, a real opinion, a reason to care.
Radio hosts can do the same in thirty seconds. Radio already owns the relationship — so use it.
Follow the Three C’s
I think of three C’s when it comes to producing and implementing audio advertising: collaboration, creativity and consistency.
Collaboration between the sales staff, the production staff (if you still have one!), the program director and the host remains imperative. When those folks talk early, the spot sounds better. Otherwise, the host gets a script minutes before airtime, and listeners can tell. The advertiser gets a better return, too.
Creativity matters just as much. Those same people should work with the advertiser to find a fresh angle. Both sides win when the goal is to make listeners lean in instead of reaching for the dial.
Consistency ties it all together. Pairing an advertiser with the same host or hosts helps the advertiser build recognition. It helps the talent stay credible. Most importantly, it helps the listener, who hears the same trusted voice vouching for the same brand.
Podcasters have already figured out that trust sells. Radio has the trust. It just needs to put it to work. Think about those three C’s when you’re selling and producing. Audio advertising has plenty of challenges. Don’t compound them by falling short of your best.
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Over my years of watching football, I’ve seen a lot of head coaches come and go in the NFL. Most are utterly forgettable. A few are memorable. A couple even become stars. But very few become media icons like Mike Ditka, who we lost recently at the age of 86.
Considering that Iron Mike was, in his own way, a classic — and that I live in Chicago, where he always had godlike status — it seems like a good reason to look at a few of the things radio hosts and Program Directors can learn from Coach Ditka.
I was inspired to write about this after I saw an article on Awful Announcing talking about how Ditka became a star by being “unapologetically himself.” I can’t really think of a better model for radio hosts. The reason the coach connected with the fans and media in Chicago, and beyond, was that he didn’t change for anyone.
Unapologetically Himself
Especially during his coaching years, Ditka was known for ranting at the media. But his rants were different. It wasn’t the way people rant today. He was fueled by passion for his team, and he wasn’t afraid to let it show. As he famously said, “Let me tell you something that I know for a fact about life. If you have no critics, you have no successes.”
Too many of today’s talent are afraid to be themselves on the air. They are either concerned with not making listeners mad, or they are focused on purposely trying to make listeners mad to build engagement. I’m not sure which is worse, but neither is authentic. And authenticity is what builds the connection with Bears fans or the radio audience.
And it was that level of honesty and authenticity that carried him beyond coaching into being an analyst, a spokesperson for brands and even an actor. That’s another lesson for talent who either want to grow beyond radio or just find themselves under pressure to deliver endorsements to help their stations generate revenue. Ditka didn’t pretend to be someone else, and that’s why he was successful outside of football.
A Coach to Everyone
What wasn’t as readily apparent about Ditka was his commitment to his players on and off the field. This is where Program Directors could take note. He coached in the era before contracts for players ballooned to the size they are now. Ditka understood these guys weren’t making a lot of money, and he actively worked to support them.
That started with being a coach to everyone. Ditka didn’t just focus on his superstars. Radio host and former Bears receiver Tom Waddle says Ditka cut him from the team four times, but each time told him to keep working to get stronger. Eventually, Waddle made the team and had a long career, all of which he attributes to Ditka’s encouragement. In a tearful appearance on ESPN Chicago, Waddle said, “If you showed loyalty and honesty you’d get it back tenfold.”
And just as he didn’t change who he was for anyone, he didn’t expect his players to, either. For anyone too young to remember the Super Bowl champion 1985 Bears team, quarterback Jim McMahon was a famous wild card. He wore a headband on the sidelines even though he was fined for it. And his trademark sunglasses — which he actually wore for medical reasons — were legendary. Ditka also made a star out of William “The Refrigerator” Perry, using the 335-pound defensive lineman as a fullback, which was unheard of at the time.
Of course, the ultimate example of allowing his players to be themselves has to be the famous song “The Super Bowl Shuffle.” The song was recorded before social media and content creation became the norm for players like it is today. A team recording a song for charity during the heat of the season was unheard of at the time, and surely Ditka could have stopped them if he’d considered it a distraction.
Putting His Efforts Where His Heart Was
And while he wasn’t always politically correct, and sometimes it was difficult to root for him, Ditka always put his efforts where his heart was. He advocated for players all the way up to testifying before Congress on the NFL’s responsibility to retired players and their health concerns. Those efforts eventually led to the Gridiron Greats Assistance Fund.
That sort of advocacy for the people in the radio industry who have the least or are struggling to grow into a bigger role is too rare. If we all focused on that a little more, radio would be better for it. And while not all of us can rise to the level of Coach Ditka, maybe if a few more of us take cues from what the coach stood for, we might end up with our own Saturday Night Live sketch.
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My 12-year-old son is an avid gamer. He lives in that world. And he’s dead set against AI in his games. My teenage daughter? She generally doesn’t turn to AI at all.
I’m not holding them up as proof of what a generation thinks. But the contradiction stuck with me: a kid completely immersed in technology who still doesn’t want a machine replacing the people who make what he loves.
Turns out, he’s not alone. And for those of us in radio, that tension is worth paying close attention to.
The Pushback Is Going Public
Gamers have been loud about it. Players have pressured studios to rethink their use of AI, and in at least one case a studio withdrew a game after fans raised concerns about AI-generated imagery.
The music industry is moving, too. The recording industry has introduced a labeling program to distinguish “AI-Generated” recordings from “AI-Assisted” ones. The idea is to give listeners more information instead of treating every use of AI as the same thing.
That last one should get every programmer’s attention. If listeners are being asked to sort songs by how much AI went into them, it’s only a matter of time before they ask the same question about the voices between the songs.
It’s About Who’s in Control
It would be easy to boil all of this down to “people hate AI.” I don’t think that’s what’s happening.
Look closer, and the objection is more specific. People push back when AI seems to replace human artists, imitate real people, or make a product feel cheap or deceptive. They’re far more comfortable when it’s helping.
The data backs that up. A Bentley-Gallup survey released in August found 75% of U.S. adults are fine with businesses using AI to brainstorm or draft ads, as long as it’s disclosed. But 62% say it’s unacceptable for businesses to use AI to create people or voices in ads — even with disclosure. Among adults 18 to 29, that number jumps to 73%.
That’s an advertising number, but radio should read it closely. Voices and personalities are our product. If nearly two-thirds of Americans don’t want a synthetic voice selling them a car, how do they feel about one hosting their morning drive?
People may accept AI’s assistance. They just don’t want it in the driver’s seat.
The Tipping Point
Here’s the tipping point for me. I used AI to research and edit this column. But the ideas, the thinking, and the point of view are mine. When AI introduces a concept that’s foreign to that, I push back. Unless the argument is sound. Then I stop and think about it.
So in a way, AI is challenging me. Which leaves me with the real question: Am I training the machine, or is the machine training me?
I don’t have a clean answer. Most of us don’t.
What Does “Human” Actually Mean?
iHeartMedia has made the most public promise in our industry. Its “Guaranteed Human” initiative rules out AI-generated personalities and synthetic vocalists, and its stations work the pledge into their hourly legal IDs. It’s a concrete stand, and it lines up with what the research says listeners want.
But it raises the next question. If an AI voice can sound human, is the voice alone enough?
I spent 30 years building morning shows and coaching talent. The ones who won rarely won because of how they sounded. They won because listeners trusted them. They knew the market. They showed up in the community. And when a bit went sideways, they owned it.
That’s radio’s real value: judgment, perspective, a relationship built over years, and responsibility for what gets said. An AI voice can read a liner. It can’t be accountable for it.
Some stations are already experimenting with AI-voiced shifts to fill holes in the schedule. I understand the math. But every time we swap a person for a simulation, we chip away at the one thing streaming services and algorithms can’t replicate.
AI can help with plenty of the process — show prep, research, production, scheduling. Even iHeart says it uses AI tools to run parts of its business. Still, every station has to decide what it trusts and what it’s willing to put its name behind.
The Public
Public backlash can push companies to change. Gamers proved that. But listeners won’t always be able to tell when AI is involved, and that puts the responsibility on us — the programmers, the managers, and the talent.
So where should the line be drawn — and who gets to draw it?
The future may not come down to whether AI can sound human. It may come down to whether a real person is still making the choices, and is willing to stand behind them.
Radio has been keeping that promise for a hundred years. Now it just has to say it out loud — and mean it.
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The Country Music Association has announced the winners of its 60th CMA Broadcast Awards. Winners learned of their victories through surprise phone calls from artist Zach Top.
What We Know: The CMA Broadcast Awards recognize excellence among country radio personalities and stations nationwide. This year’s winners include Buzz Brainard, Big D & Bubba, and several market-leading morning shows.
The Highway Hot 30 Countdown with Buzz Brainard on SiriusXM won Weekly National Personality of the Year, while Big D & Bubba from Silverfish Media took the daily national honor. In major markets, The Andie Summers Show on 92.5 WXTU in Philadelphia won, while The Jesse & Anna Show on B105.1 in Cincinnati earned the large-market award. Steve & Gina in the Morning on Kat 103 in Omaha took medium-market honors, and Officer Don and DeAnn on 98.1 The Bull in Lexington, Kentucky, won in small markets.
For stations, New Country 96.3 KSCS in Dallas won major market, 94.7 WQDR in Raleigh took large market, Kat 103 in Omaha earned medium market, and 95.7 WKML in Fayetteville, North Carolina, won small market.
What’s at Stake: The awards highlight the personalities and stations connecting with country music audiences. Recognition from the CMA also provides industry-wide acknowledgment for broadcasters competing for listeners and advertisers.
What Remains Unclear: The CMA’s announcement did not specify whether additional recognition or celebrations for the winners will follow. Details about how the surprise calls with Zach Top were coordinated also remain unclear.
What It Means: The 60th CMA Broadcast Awards showcase the continued importance of country radio personalities and local stations. Meanwhile, KXKT/Omaha stands out as a double winner, earning honors for both its morning show and station.
New research shows podcast listeners favor host-read ads and audience perks over additional commercials. The Podcast Study 2026 identifies new revenue opportunities for Point-to-Point Marketing and Strategic Solutions Research.
What We Know: The national study surveyed 1,205 U.S. podcast consumers and found that 54.8% believe podcasts already carry too many ads. Only 8.6% would accept more advertising to keep podcasts free.
Meanwhile, 40% said host-read ads strongly influence their decisions to try or buy products, compared with 26.6% for prerecorded ads. The research also found that 48.5% would definitely join a free VIP Club, while more than 80% would open an email from a favorite host. Additionally, 53.2% discover podcasts through social media, compared with 17.4% through advertising on other podcasts.
What They Said: “The opportunity here is bigger and more exciting than simply adding more ads. Podcast companies have a chance to make existing advertising work harder while also creating new revenue through memberships, premium offerings, events, and direct audience relationships.” -Strategic Solutions Research Executive Vice President Hal Rood
“For us, the next step is applying what we learned. We have much more knowledge now about how people discover content, what makes them stay, and what separates a highly engaged consumer from everyone else. We can use that intelligence to continue improving the audience development campaigns we build for our Point-To-Point Marketing clients.”-Point-to-Point Marketing CEO Tim Bronsil
What Remains Unclear: The study highlights interest in memberships and premium offerings, particularly those priced below $5 monthly. However, it doesn’t specify how many listeners would convert from free engagement to paid subscriptions or how much revenue those models could generate.
What It Means: Podcast companies have opportunities to grow revenue without overwhelming listeners with commercials. Host-read advertising, merchandise, events, and exclusive content could strengthen audience relationships while creating additional income. Furthermore, social media offers a potentially valuable discovery channel. The Podcast Study 2026 webinar series concludes October 20 with “What Radio Can Learn from Podcasting’s Trust Economy,” examining lessons for radio leaders, personalities, programmers, and sellers.
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.
