Home Blog Page 351

Tyrese Haliburton Launches Zero Doubt Creative Production Company

BSM Staff
-
0
Tyrese Haliburton Launches Zero Doubt Creative Production Company

Tyrese Haliburton isn’t waiting for a return to the court to expand his brand. The Indiana Pacers star is entering the content business.

Haliburton announced the launch of his own production company, Zero Doubt Creative. The venture includes a multiyear partnership with Brent Montgomery’s Wheelhouse.

Zero Doubt Creative will work with Wheelhouse Sports on original programming and branded content. Some projects will be pitched across the media landscape. Others will live on Haliburton’s YouTube and social channels.

“I’ve always been inspired by the power of content,” said Haliburton to the Hollywood Reporter. “Especially the ability to create ideas, moments and experiences that can connect people through storytelling. As I’ve gotten older and experienced pivotal moments in my life, I wanted to find the right way to tell those stories.”

The first project is already set. It’s an original docuseries titled Time Out. The series will follow Haliburton’s return from a ruptured Achilles tendon suffered in Game 7 of last year’s NBA Finals.

“Launching Zero Doubt is the start. Our goal is simple — tell honest compelling stories and build a platform that will grow with me throughout my career and beyond, all the while, setting up a community with like-minded individuals who lead with authenticity. I’m excited for what’s next,” said Haliburton.

Portal A will produce the series alongside Wheelhouse. A premiere date has not been announced.

“Ty brings the same passion to creating and storytelling that he brings to the court,” said Montgomery. “Wheelhouse looks forward to expanding those ambitions with him, Kristina and the whole Zero Doubt team.”

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

FOX Sports, Telemundo Ad Revenue Expected To More Than Double 2018 FIFA World Cup

BSM Staff
-
0
FOX Sports, Telemundo Ad Revenue Expected To More Than Double 2018 FIFA World Cup

FOX Sports and Telemundo are positioned for a massive financial win during the 2026 FIFA World Cup. According to a report by Sportico, early projections suggest the two networks could combine for as much as $850 million in advertising revenue.

That total would more than double the $384.3 million generated during the 2018 tournament.

According to the reporting, the tournament’s North American footprint provides a built-in boost. Matches will be play across the United States, Mexico, and Canada, with 11 U.S. venues involved. That setup should increase domestic interest and viewership.

Also, inventory has expanded significantly. FIFA’s move from 32 to 48 teams adds 40 matches. More matches mean more commercial opportunities for both FOX Sports and Telemundo.

Additional ad inventory will also come from new in-match elements. FIFA has introduced two hydration breaks per game. Those breaks create six extra minutes of sellable airtime per match. That is a major shift for a sport that traditionally offers no natural commercial windows.

Demand reflects the opportunity. Media buyers report minimum commitments of roughly $10 million to secure time in FOX Sports’ coverage. Premium matches, including U.S. group stage games, command significant price increases.

The networks have also held back select inventory. That strategy positions them to capitalize on a potentially strong scatter market closer to kickoff. Out-of-home viewing adds another revenue layer. Nielsen data shows more than 30% of Gold Cup Final viewing occurred outside the home. World Cup matches are expected to deliver similar patterns, increasing total impressions.

Major global brands have already secured positions, with more expected to enter the market in the coming months. For FOX Sports and Telemundo, the equation is simple. More matches, more inventory, and bigger audiences should translate into record-setting revenue in 2026.

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.

KISS UK Just Did What Too Many Radio Brands Are Afraid to Do

Phil Becker
-
0
KISS UK Just Did What Too Many Radio Brands Are Afraid to Do

Radio often talks about its relevance with younger audiences. I can’t fault it. I used to do the same thing in my dating life years ago. It touts the trust listeners place in radio personalities, the intimacy of the medium, and the wonderful ROI. Then branding time comes, and everybody googles “radio station logos.” That is not what KISS UK has done. And that is exactly why I went to a UK radio expert to talk about it.

There are four things in life that are subjective: art, humor, attractiveness, and radio station logos.

If you’ve ever worked with me, you may have heard me say, don’t confuse “safe” with “good.” The KISS London rebrand doesn’t give us a pair of lips, the word KISS spelled out, a dial position, a paintbrush stroke, a musical note, or a radiating radio signal.

That alone, along with its unique positioning statement — “The Best Vibes & Energy” — is the kind of thing that should be talked about between your meetings on Sabrina Carpenter rotations and meat-truck remotes.

I wanted to talk with UK radio market expert, branding guru, and TM Studios COO and co-owner Dave Bethell about what KISS got right, what makes this rebrand different, why it feels different, and some of the stories behind it, as well as what the broader radio business can learn from it.

A Conversation with Dave Bethel

Phil Becker: Dave, you’ve got real history with KISS. You grew up with the brand, later became its imaging voice, and even did air shifts there. So when you saw this new look for the first time, what was your immediate reaction?

Dave Bethell: I thought it was bold, unexpected, and courageous — just a couple of months after relaunching its Breakfast show. The previous logo was 20 years old. That’s older than some of its target listeners. When that logo arrived, there was no TikTok, no Snapchat, no Instagram, no Twitch, no Roblox. Social media barely meant more than MySpace.

PB: The former “K” style logo was familiar. What’s the weakness in familiarity?

DB: During the life of that famous blocked K logo, KISS has been many things. It had many sounds. It has delivered some huge moments of iconic radio, mixed in with misses along the way. For some, that old logo came to represent not just the highs, but the baggage and challenges too. And I say that as someone emotionally attached to KISS. I grew up listening to the pirate version before it became legal, and years later working there. So there is history there for me. A real affection.

PB: Dave, you have deep UK media relationships, and one week into the logo it feels like there is pushback — not from the audience, but from some of the industry types. How do you feel about that?

DB: Some of the pushback from within the industry does not bother me in the slightest. In fact, I’d argue that is part of the point. Some of the same people who hated KISS leaving the FM dial were reacting from an old set of assumptions about where radio lives and how audiences consume brands. KISS chose to meet people where they actually are. This logo feels like the visual version of that same decision. And if we are honest, as industry people, our instincts can be too radio. If you gave many of us the brief for a new KISS logo, we would probably come back with something that looked like another radio station.

PB: Dave, that point matters more than U.S. radio executives may realize. KISS is no longer on FM. Bauer now positions KISS as a multimedia 15–34 brand across DAB (Europe’s closest thing to HD Radio), Rayo, social platforms, live events, and apps, while Hits Radio took over the former KISS FM frequencies in London, Norfolk, and the West of England. They believe the KISS audience thinks digital-first and terrestrial second, which gives Bauer a clean commercial story: KISS for a younger, digitally native consumer; FM for brands aimed at listeners who still expect radio to meet them on a dial. When Bauer chose NOT Wieden+Kennedy London, my all-time favorite agency, for this work, what did that tell you?

DB: If you want to create a brand that feels aspirational and culturally relevant, you need brave thinking. It’s that bold Nike “Just Do It” spirit and mentality. Bauer went to NOT Wieden+Kennedy London, the design arm of Wieden+Kennedy — the very people behind Nike’s “Just Do It” brand. You do not make that agency choice if your goal is “same, but fresher.” You make that choice when you want something unique, memorable, interesting, and with some attitude.

PB: What do you think they got right in the pieces of the KISS DNA they held onto?

DB: I’m glad they retained the purple color scheme and reintroduced pink. To me, that feels like a subtle nod to the 1999–2006 LiveSexy era. I’m also glad they kept the tradition of having an icon or pictorial mark alongside the wordmark. We’ve had Lips, a Heart, and a K. This time it is an X, which — in case you didn’t spot it — is the universal shorthand for a kiss. Regardless of what language you speak, where you live, or what your background is, we all use that “X” at the end of a message to a loved one. That is so clever. I have not seen another KISS radio brand use the X. Lips are everywhere. The X is more distinctive. Radio, for all its obsession with logos, sometimes forgets that the best visual identities are strategically sticky.

PB: One of the things you are hammering home is that this doesn’t look like the visual language you’re seeing everywhere. Why is that a strength rather than a risk?

DB: Because it is not supposed to look like now. It isn’t supposed to impress radio peers. It is supposed to look like tomorrow. Not only that, but if the last logo is anything to go by, it also has to stand the test of time for up to 20 years. If you are targeting Gen Z, Gen Alpha, and the audience that comes next, then you have to create a visual identity that can sit alongside where design culture is heading. Bright color palettes. Rounded forms. Soft, oversized shapes. More visual punch. It isn’t supposed to impress radio peers. It is supposed to look like tomorrow. That line should be taped to the wall of every media company conference room.

PB: For the “you only see a logo for a second” crowd, that is exactly the outdated thinking this rebrand is pushing against. In 2026, a logo is not a tablecloth or a van door — it is an app tile, an avatar, a video bug, a creator collab button, a merch graphic, an event wristband. Stations should be focused on how audiences live, listen, and scroll.

As Bauer itself says, this new KISS identity is built for growth “across audio, social, and beyond.” Too much radio branding still treats the audience like it needs the format explained with clip art. A guitar for country. A ball for sports. A lightning bolt for rock. A city skyline, just in case the audience got all the way to work and forgot where they live. KISS UK was always about youth, energy, and a city moving fast. Does this new look reconnect the brand to that?

DB: One of the original principles of KISS when it became a legal station was to be the station for a fun, young London. I still think that spirit matters, even if the wider KISS brand now also stretches outside of London and to extensions like Kisstory that speak to people like me. This new logo does more to answer that original brief than the previous one did by the end of its life.

PB: That is where radio often gets stuck. It says it wants younger audiences, then hands them branding, imaging, promotions, and music that looks and sounds like their competitors. Do you think this is the kind of logo that may need time to settle in? The kind that gets mocked before it gets respected? Kinda like my radio career.

DB: To me, it grabs my attention in a way the last logo no longer did. I also think it may be one of those “grower” logos — the kind that takes a minute to settle in before people fully understand it. I have already seen comparisons to band-aids, which is actually quite funny given the deeper KISS lore around Bam Bam Breakfast and those famous band-aid taped-mouth visuals used in early KISS marketing. It is brave. It is ballsy. And whether everyone gets it immediately or not, that may be the whole point.

Phil-Osophy

A rebrand is an important leadership conversation. In the hundreds of stations I’ve worked with, I’ve always said the logo is the flag. The hard part is getting the team and the listener to march behind it. If the people with titles full of letters don’t clearly explain why the change happened, who it is for, what problem it solves, and how it should come to life across product, programming, sales, social, talent, and every internal and external touchpoint, it will struggle.

Internal belief is what creates external clarity. Phil-Osophy #51 for those keeping track, which is really nobody but me.

And for the “if it ain’t broke, don’t fix it” crowd — that phrase sounds practical until you think.

Mastercard modernized its identity for digital contexts. Dunkin’ dropped “Donuts” because it knew it didn’t need the whole name — or the hole name. These companies refreshed because the market changed, and they changed with it. And who doesn’t love a refreshed cup of Dunkin’ coffee?

Cars, movies, fashion, and entertainment understand this. Nobody under 60 looks at a new Mustang and says, “Why didn’t Ford just keep building the ’65 forever?” James Bond has survived generations for the same reason: different actors, aka jocks; different eras, aka your music mix; different platforms, aka streaming; same spy brand. And for a whole generation of us, GoldenEye 007 on N64, aka brand extension, did as much to refresh Bond as the films themselves.

A station logo should not be designed to impress an audience of one. Not you. And not your boss. Not your fellow PDs, not me, and not Dave Bethell. Design to endure millions.

For those of you who have read this far, thank you. For those of you who think, “man, Phil wrote 1,861 words to talk about a logo, that feels excessive,” I would argue the opposite.

Radio makes its money by asking other businesses to trust it with their marketing. We tell clients we understand positioning, recall, consistency, activation, messaging, and what moves consumers.

So let me ask an uncomfortable question: if a radio station cannot tell when its own brand needs a refresh, a repositioning, or a reintroduction, why should any business owner trust it to manage theirs?

That is why this is not a logo story.

Hugs and kisses. Phil

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.

Bob Kevoian’s Legacy: 3 Things Radio Talents Can Learn From The Bob & Tom Show Legend

Garrett Searight
-
1
Bob Kevoian’s Legacy: 3 Things Radio Talents Can Learn From The Bob & Tom Show Legend

Bob Kevoian was a giant. The longtime co-host of The Bob & Tom Show spent more than three decades alongside Tom Griswold, building one of the most successful franchises in radio history before retiring in 2015.

On Friday, Kevoian passed away at the age of 75 after a battle with cancer.

He was, without question, a legend of the medium. And while some might think there’s nothing to learn from someone who made a living laughing on the air, they’d be wrong. Here are three lessons every radio talent should take from the life and career of Bob Kevoian.

Vulnerability Creates Connection

Laughing is one of the most vulnerable things a person can do. It’s an outward expression of emotion — a window into what moves you, what delights you, what you find genuinely funny. Bob Kevoian did that every single day, and listeners loved him for it.

Opening up and letting your audience into your world is one of radio’s greatest advantages over every other medium. It’s intimate by nature, and vulnerability supercharges that intimacy.

Jake Query of 107.5 The Fan in Indianapolis captured it best on social media following Kevoian’s passing. There are two sounds distinctly tied to Indianapolis, he wrote — the roar of engines at the Indianapolis 500, and Bob Kevoian’s laugh.

That’s a legacy. It’s proof that when you’re willing to show the real you, listeners don’t just tune in. They remember you for decades.

Find Your Lane and Commit to It

The Bob & Tom Show didn’t build a loyal, national following by trying to be everything to everyone. They found their lane — humor — and committed to it fully.

Over time, that commitment grew into a business. It became a brand, a touring show, a platform for comedians, and a cornerstone of morning radio for millions of listeners.

Entertainment takes many forms, and you don’t have to be a comedian to entertain. But you do have to find your niche. Listeners aren’t tuning in for information they can’t get somewhere else. They’re tuning in because you give them something they can’t get anywhere else.

Bob and Tom figured that out early, and their careers reflected it.

Know When It’s Time to Walk Away

This might be the hardest lesson, but it’s arguably the most important one. Bob Kevoian retired from the show that still bears his name more than a decade ago.

He didn’t have to. He could’ve kept showing up, kept doing the bit, kept collecting the paycheck. But he chose not to. He wanted to enjoy what was left of his life on his own terms.

So many in radio struggle with identity outside of the medium. They convince themselves they can’t exist without a microphone in front of them. Kevoian proved that isn’t true.

It takes real courage to walk away from something you’ve built — far more courage, actually, than it takes to stay. Riding off into the sunset isn’t failure. Sometimes, it’s the wisest move you can make.

Bob Kevoian was 75 years old. He leaves behind a legacy built on laughter, authenticity, and an unwavering commitment to entertaining the people who gave him their mornings. Radio lost a good one. The least we can do is make sure his lessons stick around.

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 Sinclair AMP Upfront Reveals the Confidence Gap Between Podcasting and Radio

Jason Barrett
-
0
The Sinclair AMP Upfront Reveals the Confidence Gap Between Podcasting and Radio

Last Wednesday, I attended the Sinclair AMP Upfront in New York City. The event brought together star talent, company executives, and a room full of advertising professionals. It ran on time, delivered substance, crackled with energy, and prioritized owning the moment.

I wasn’t sure what to expect heading to the event. We have readers across the company but aside from my former ESPN Radio colleague Pete Gianesini — who I enjoyed reconnecting with — my personal ties at the company are limited. A big thank you to Jessica Bellucci for the invitation to attend. I believe it’s valuable to escape your comfort zone, and see how others approach content and business. Forming new relationships is another added benefit, and I took advantage of the opportunity by gaining face time with Rob Stone, Urban Meyer, and Martin Kristiseter of Digital Remedy.

AMP Believes in Podcasting

Sinclair’s AMP roster is formidable. Throwbacks with Matt Leinart and Jerry Ferrara commands attention. The Triple Option with Urban Meyer, Mark Ingram, and Rob Stone brings elite football credibility. Cousins with Vince Carter and Tracy McGrady features elite NBA talent, natural chemistry and authentic conversations.

The company also sees value beyond the marquee. Programming built around Landon Donovan, Aliyah Boston, and others signals a deliberate investment in niche audiences. That’s smart business. Niche communities are deeply loyal. They convert.

None of this is accidental. Sinclair has made a strategic choice to invest in premium talent and package it for buyers. The company owns 181 television stations across 81 markets. It’s their crown jewel. Yet, this particular upfront had nothing to do with TV. It focused solely on sports podcasting and the Tennis Channel.

That is a corporate declaration. The company sees real revenue potential in the podcasting space and presented it to buyers with the same seriousness they’d give any major television property. That same enthusiasm and confidence was on display when I previously attended the Barstool Sports and Jomboy Media Upfronts.

A Tale of Two Industries

That begs the question, why is the energy and belief in these rooms a stark contrast to what’s felt across the radio industry? Radio colleagues frequently sound worn down. Layoffs accumulate. Revenue struggles persist. Confidence in the path forward is in short supply. People talk like the best days are behind them despite consumers listening and watching more content than ever.

NAB Las Vegas is underway this week. But many industry leaders will discuss critical issues in Nevada away from the actual event. Curtis LeGeyt and the NAB team work hard to unite the industry. I’ve spent nearly 11 years doing the same. At some point, the industry has to care enough to help itself. You can lead a horse to water but you can’t make it drink.

The podcasting world operates with a different mindset. Leaders at The Volume, Omaha Productions, Jomboy Media, Locked On, Gamut Podcast Network, Bleav, Silver Tribe Media, Meadowlark Media, and Sinclair, speak about the future of podcasting with genuine conviction. They see opportunity, freedom, and a lane to build something sustainable. It’s refreshing and encouraging.

The Posture of a Wounded Industry

I read a great piece last week by John Shomby. He compiled a series of social media posts from radio pros reflecting on the state of their business. The messages painted a dark picture of how many feel about their chosen profession. They carry themselves like someone who’s been burned in a relationship and is bracing for the next betrayal. That posture doesn’t produce better outcomes. It just guarantees more pain.

What I observed at last week’s Upfront was the complete opposite. Rich Cooke, Rob Weisbord, John Zeigler, Eric Welles and others projected belief. They expressed passion, excitement, and confidence in the business they’re investing in. They created an environment where buyers felt compelled to be part of something moving forward. That distinction matters.

The Radio Industry’s Dilemma

There’s a strong appetite for sports content and a willingness to invest in it commercially by non-radio companies. Yet many local radio leaders cling to what’s safe and familiar, creating excuses for why they can’t make money in podcasting. Current radio revenues may be larger today, but those numbers continue to shrink. Podcasting continues to grow.

Entering new content spaces and training salespeople to monetize them isn’t easy. It requires time, foresight, investment, patience, and adaptability. Every business is faced with challenges. Layoffs are real. Revenue pressure is relentless. Measurement is challenged. Expanded responsibilities are making it harder than ever to achieve, let alone sustain. None of that is up for debate.

But while some professionals stare at the cracks in the road, others are sprinting past them. Companies are building rosters, hit shows, pitching buyers, and creating environments where partners feel like they’re part of the next big thing.

Radio’s worst enemy is itself. It doesn’t market, celebrate, connect or invest enough. When the public narrative revolves around bankruptcies, revenue decline, measurement inefficiencies, and layoffs, it’s hard to expect those in control of the purse strings to be enthusiastic. Yet the radio business has so much to offer between trusted brands, big personalities, massive audiences, live events and experiences, and distribution across every channel and platform.

Meanwhile, groups like Sinclair are out there showcasing why they believe in the business, putting their money where their mouths are, and inviting the business community to jump on board. Radio can point to economic difficulties as the reason for timid innovation and exploration, but others operating in the same economy are stepping up and excited to do so. You can either play the long game, and pursue new content and business opportunities with passion, focus, and strategy or watch others blow past you. The view of the glass may be half empty to some, but to others, it’s full of unlimited possibilities. I saw it again last Wednesday.

Welcome Kevin Callahan

For months I’ve shared that I wanted to add a Country Radio columnist to improve our coverage. I’m a fan of the format, love the connection it has with artists and record labels, and have regularly praised CRS. I knew Country Radio needed to be served better on our website, and today, I’m happy to say, we’re taking a step towards doing so.

It’s my pleasure to welcome Kevin Callahan to the Barrett Media writing team. Folks can reach out to offer congratulations to him here.

Kevin Callahan (Canva | Social Screenshot)
Kevin Callahan (Canva | Social Screenshot)

Kevin oversees 25 radio stations across five markets, including four Country brands as the Executive Director of Programming & Operations for Pamal Broadcasting. His career includes a 12 year stint as Audacy’s West Coast Regional VP of Programming for the Country format, where he managed premier brands across major markets including San Diego, Seattle, Phoenix, Riverside and more. In addition, he serves on The Agenda Committee for CRS as Vice Chair, helping to shape and develop the educational programming for next year’s show.

Kevin’s column will run each Thursday, starting later this week. I’m excited to end the dryspell and give Country radio pros an additional voice to champion their format’s wins, challenges and opportunities.

Quick Hits

2026 Barrett Media Audio Summit: We have a ticket sale running through Wednesday April 22nd. Notably, one-day, two-day and three-day passes are all discounted. Click here to secure your seat. I’d also like to thank Bonneville International and Amazon ART19 for signing on as partners of this year’s show. In fact, over 20 companies are supporting this year’s conference. For information on additional opportunities, simply email Stephanie@BarrettMedia.com.

WWE/WrestleMania: The buildup to this year’s spectacle wasn’t perfect, but the WWE delivered when it mattered most. Were there too many commercials? Yes. Was the Pat McAfee angle bad? Absolutely. Still, the matches, production, and broadcast were very good. Many fans like to complain and overanalyze every detail, making shows feel less enjoyable sometimes. Personally, I love the behind the scenes stuff like everyone else, but using your phone less during a show has a positive effect. All in all, a great weekend for everyone involved with the WWE and ESPN.

Bob Kevoian: I didn’t know Bob Kevoian personally, but I was well aware of Bob and Tom. So when news broke Friday night that Bob had passed away, I knew it’d be a national story. I’ll never forget when Stephanie Eads told me Bob & Tom were signing on as a sponsor when we started covering music radio — I was truly honored. As a fan of great radio shows, talent, and brands, I have tremendous appreciation and respect for what Bob built with Tom Griswold. The outpouring of support across social media highlighted how much Bob meant to listeners, advertisers, co-workers and fellow broadcasters. He may no longer be with us, yet his contributions to the radio industry won’t ever be forgotten. Farewell to an absolute legend!

A photo of Bob Kevoian
(Photo: Bob & Tom Show on Facebook)

The Volume: Both Colin Cowherd and Logan Swaim deserve credit. The Volume may be known for its sports content, but the brand’s move into entertainment has attracted some heavy hitters. As a result, shows now feature hip-hop legends Fat Joe and Jadakiss, Angie Martinez of Power 105.1, and Rory and Mal. By branching out in this way, The Volume is setting itself apart in a crowded field. Well done, fellas.

Posting on X: I read a fascinating article recently on Neiman Lab about posting strategies for top outlets on X. In the piece, the New York Times, Wall Street Journal, and CNN were cited as posting article links for 88-98% of their posts. Consequently, their engagements per post were abysmal. By contrast, Fox News had only 9% of their posts include article links and were among the most engaged brands on the platform. The moral of the story: play the game how the platform wants it played, or wind up not being seen. Clearly, Fox gets that — others don’t.

Quality over Quantity: The Times shared recently that articles on their website were reduced by 25%. As a result, three consecutive months of all-time, record-breaking audience growth followed. Head of Digital Anna Sbuttoni said the shift was about prioritizing better original content.

Similarly, Acquired, the business history podcast hosted by Ben Gilbert and David Rosenthal uses a similar approach. The show produces just 8 episodes per year, reportedly earning over 6 million dollars for its presenting sponsorship. Each new episode earns over one million downloads in its first six months, ranking it among the top technology podcasts on both Apple Podcasts and Spotify. On top of that, the founders say the audience has doubled every year since the show’s debut. To borrow an old radio slogan, sometimes less is more!

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 Disconnect Between NAB Week and Realities of Sports Broadcasters

John Mamola
-
0
The Disconnect Between NAB Week and Realities of Sports Broadcasters

Welcome to NAB week, where thousands descend on Las Vegas for a multitude of reasons. Some make the trip to showcase the latest and greatest in “broadcast” technology. Others attend the annual event to network and connect with old partners and industry giants. I’ve only attended NAB once in my professional career. In 2024, I was a guest speaker on a panel hosted by the amazing Fred Jacobs of Jacobs Media.

At the time, I considered the invitation to speak at NAB the highest honor. In fact, sharing the stage with people I admire felt like the grandest achievement of my two decades in broadcasting. Financially, the trip wasn’t paid for by the company I represented. Instead, the fees came out of my own pocket. Even so, I couldn’t pass up such an honor and made the trip, regardless of how much it set my savings back.

However, as much as sharing a stage in Las Vegas represented a career high, the experience of being an observer left me unsettled. Walking the showroom floor, I felt an uneasiness. A concern that the audience for the event was less about advancing my industry and more about replacing it.

For me, there’s a romanticism to the broadcasting industry. People enter it with a passion to inform, entertain, and serve as the voice that guides a generation in how it receives content. It takes failure to achieve success, and it takes strong management to accept that success doesn’t happen overnight.

In the end, people have defined—and hopefully will continue to define—how stories are told to a growing population that craves them. From a sports perspective, the rise of podcasting has contributed to the slow, methodical decline of sports radio. Fans now receive news through social media instead of the local newspaper. At the same time, companies continue to invest in AI not to improve performance, but instead to reduce costs, in turn spitting in the face of quality journalism.

Cautious Conscience

NAB Exhibit Floor (Jeff Lynn)
NAB Exhibit Floor (Jeff Lynn)

Recalling my experience in Las Vegas in 2024, I found my excitement about the future of the sports radio industry clouded by concern.. Automated this and artificial intelligence that. Why pay the overhead of human beings when machines can do what they do—better?

Innovation, they called it. The next evolution in what audiences want. But why invest in technology that helps broadcasters elevate their performance when modern audiences clearly value quantity over quality in every space imaginable?

The National Association of Broadcasters says its mission is to be the voice of the nation’s television and radio broadcasters. Have they been listening to the calls for help from broadcasters themselves?

All three major radio broadcasters went through some form of workforce reduction in the past year. Some cuts were deeper than others. Television personnel aren’t immune to the same concerns. Between mergers and fragmentation, many share the same fears as their radio counterparts.

We’ve already seen the signs in the first quarter of this year. Broadcasting companies scramble under political pressure from the commission set to regulate them, often for an audience of one. AI isn’t just impacting broadcasters; it’s reshaping the advertising industry as well. Fewer people now carry heavier workloads across every segment of the industry, with no guarantee of tomorrow and a fading belief that success is still attainable.

Yet NAB holds this conference every year as the voice of the nation’s television and radio broadcasters—but for whom?

Sports Being Served

Search “sports radio” in this year’s NAB session listings, and you’ll find one session on Tuesday: “Calling The Game,” featuring Allan Wylie, a blind sports broadcaster and radio color commentator for the Delaware Blue Coats.

No representation from ESPN Radio, FOX Sports Radio, or local sports radio talent or management. iHeartMedia, Audacy, and Cumulus Media have a total of four voices combined for the entire event. No local voices addressing what’s happening on the ground across the country.

Is this serving NAB’s mission for sports radio broadcasters?

Search “sports television,” and you’ll find four sessions. Panels on camera-to-cloud workflows, cutting-edge AI technology, and hybrid production models. There’s also a session on how AI is already reshaping production workflows and how teams and companies are finding the balance between automation and editorial judgement.

Are we really having conversations about replacing human judgment? Asking not whether machines can think, but whether people still know when not to let them?

There will be plenty of CEOs, executives, founders, and consultants on stage. Yet no representation of the realities of the industry from the perspective of those on the ground. Instead, there are countless discussions about investing in technology that, on its face, eliminates roles and cuts costs in an already consolidating industry.

Is this serving NAB’s mission for sports television broadcasters?

What’s Missing

Maybe the most uncomfortable truth about NAB week isn’t what’s being said on stage—it’s what isn’t.

For all the talk of innovation, efficiency, and evolution, there’s a noticeable absence of the very people who built this industry into something worth evolving in the first place. Their voice deserves time and place. The concerns they have for the realities of the future are worth showcasing. Those conversations are just as valuable as any new innovation, AI advancement, or new creator lab.

However, the voices aren’t just missing from the panels—they’re being quietly removed from the business model altogether.

Technology should push broadcasting forward. It should make great storytellers better, not make storytellers optional. That’s the feeling I carried with me from my time in Vegas two years ago, and still have today.

Because if this industry forgets that its greatest asset has always been the human voice—the perspective, the instinct, the ability to connect—then it won’t matter how advanced the tools become. There won’t be anything meaningful left to amplify.

If NAB truly wants to be the voice of broadcasters, it may want to start by listening to the ones who are still fighting to be heard.

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.

How Bullets and Octane Fuel Their Impactful Sound With ‘Losing My Mind’

Terrie Carr
-
0
How Bullets and Octane Fuel Their Impactful Sound With ‘Losing My Mind’

Having programmed current-based rock radio for decades, I’ve built a list of the “Shoulda” bands. Bands that “shoulda” been bigger. We all do, don’t we?  One of those bands is Bullets and Octane—hard rock infused with punk fun, catchy tunes, and energy.

I loved their RCA major label 2006 debut, In The Mouth Of The Young. So, when I found out they had a new single, Losing My Mind, I was anxious to get some face time with their bigger-than-life, rock-punk king front man, Gene Louis. 

Founded in the late ’90s, Bullets and Octane hit rock radio in the 2000s and proved tough to categorize. In The Mouth Of The Young arrived in 2006. In fact, the album just celebrated its 20th anniversary of its release. Like many 2000s bands, they appeared in WWE wrestling events, video games, and toured with acts across genres. These include bands such as Avenged Sevenfold, Korn, and Deftones.  

They seemed on their way… until they weren’t. Still, the band consistently delivered solid music. Choosing to stay true to their hard, punk-leaning pop sound, and never strayed from who they are. 

Now, they’re back with a banging new single, Losing My Mind, described as “a relatable anthem for the survival era.” The track is a fun, relevant tune that rock radio needs right now.

I caught up with Gene Louis who spoke with me from his backyard on my Carr Stereo Podcast. We talked about knowing who you are and navigating the sometimes BS of the business. 

*Editor’s Note: Answers have been edited for clarity and length.* 

Terrie Carr– You are a punk chameleon, always finding a way to just look a little different and up your game. That’s what rock and roll is all about, and I love seeing the visual behind the music. 

Gene Louis– I picked up stuff along the way. Growing up in Missouri there were a lot of cow punk bands my father was in. Dixieland jazz and big band music. Then we had classic rock, followed by punk rock and grunge in the 90s growing up. 

It was a whole bunch of different influences. Sonically and stylistically putting on all kinds of different outfits. I love it. Life is way too short to just do one thing. I have a lot of friends in this business. They picked one thing and they’ve done one thing.

I remember talking to my buddy who is the guitar tech for Slayer for the longest time. I’d ask him what goes on at sound check. I was hopeful they at least play Sweet Home Alabama or something different than metal. Nope, they just do metal he told me.  

It’s like painting. If I was a painter, you’ve got all these colors, teal and orange and all these things. However, your metal is only red and yellow. For your whole life you just do red and yellow on every painting. But every day you look down and see all these amazing teals and greens and stuff that you never get to use. 

That’s a selfish thing. To me, when you think you’re about to hang your hat on what you think I’m doing, I’m doing something else. It’s not really so contrived necessarily. I get bored with the norm.

TC– I was in rock radio forever, my whole life. That’s all I’ve done. 30 years. I remember when Bullets and Octane first dropped on my desk. You guys came at a time where it was so weird because radio was so fragmented. It’s still fragmented. 

At that time in the 2000s we had so many charts. The mainstream charts, metal charts, active charts, classic charts, and then there’s punk and Alternative. Then there’s you guys- such a well-rounded band and unboxable.

Unfortunately, when you’re well-rounded, sometimes it screws you in the back. Active rock was born and what is it? Is it Saliva, Godsmack, Shinedown? What is it? 

GL – It’s a little unfair a lot of times because when you’re young and trying to figure out who you are. Especially in a thing that doesn’t really make sense. 

It’s ever changing. You’re growing, maturing, and going through your personal life and your professional life trying to figure out what that’s like. You’re collecting all your influences, but you’re also trying to keep that aside and become your own thing. 

For us, when things started kicking off, it was hard for a lot of the business side. Managers and labels, they didn’t know what to do with us. They wanted to put us in a box, and we didn’t really know what that meant. 

Check out my full interview with Gene Louis on the Carr Stereo Podcast. We discussed Bullets and Octane’s new tune, Losing My Mind and emerging from ’90s grunge. Plus, how Gene decided against leaving the music business and chose to push forward. 

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.

What 20 Years of Jacobs Media Survey Data Tells Us About Radio Listening Habits

Mike Stern
-
0
What 20 Years of Jacobs Media Survey Data Tells Us About Radio Listening Habits

I want to wish a very happy and healthy Jacobs Media Tech Survey Season to those who observe the holiday.

For those who don’t or aren’t familiar with this holiday, every year Jacobs Media fields a giant survey where respondents talk about how they’re currently using different types of technology.

This survey has been fielded annually for more than twenty years. The system is simple. Radio stations sign up to participate, and Jacobs Media sends the survey to everyone in their email database. This year, over 500 stations from across a wide spectrum of formats participated, and over 30,000 people responded.

The beauty of this giant sample is that these people are radio listeners. They care enough to be a part of a radio station database, which generally equates to some level of listening. This isn’t a random sampling of people — it’s a look at where radio listeners are when it comes to adopting new technologies and their thoughts on many other topics.

Probably my favorite question that’s asked each year is “Why do you listen to the radio?” Respondents are given a long list of possible reasons for listening, and they can mark which ones apply to them. With the ability to break the responses out by format, we can see how listeners who prefer a certain type of radio station — for example, Classic Rock or Hits — compare to the overall sample of 30,000 listeners.

Let’s start with the whole sample. The chart below shows how many people selected each option from the list. At the top, selected by two-thirds of the sample, is the fact that radio is easy to listen to in the car, something the industry doesn’t market nearly enough. The other two options selected by over sixty percent of respondents are that radio is free — another thing we don’t promote enough — and DJs, shows, and hosts (60%), which reinforces the value of talent.

The next chunk of reasons reinforces radio’s emotional connection. Answers like “I feel a connection with the radio” (55%), “I like to work with the radio on” (48%), and “it keeps me company” (45%) all speak to the strength of the medium. Hearing their favorite songs (53%) is also in this section of the chart.

Also note what’s at the bottom: winning prizes (15%), charitable/community events (22%), and information like sports and traffic (24%). Music surprises (24%) and discovering new artists (25%) don’t score very highly overall either. This is a good reminder that, while contests and community work can bolster a station’s image and strategically grow ratings, they may not be the reason for a listener’s initial tune-in.

Now let’s compare the total sample’s answers to those of Classic Rock listeners. There are some notable differences.

For Classic Rock listeners, hearing their favorite songs and artists jumps to the number one position, with three-quarters of respondents saying that’s a reason they listen.

Also, notice that music jumps ahead of DJs, hosts, and shows (52%), which comes in a little lower than the overall sample.

The other notable difference is that 61% of Classic Rock fans said they like to work with the radio on. That’s 13 points higher than the overall sample.

When you think about imaging, positioning Classic Rock stations as a great at-work option clearly has a lot of value.

Classic Hits has some similarities to Classic Rock, with listeners hearing their favorite songs and artists on top of the ranker. 70% of respondents cited it as a main reason they listen.

DJs, shows, and hosts came in slightly higher at 58%, where Classic Rock listeners were at 52%.

Working with the radio isn’t as big of a draw for Classic Hits at 56%, about five points behind Classic Rock listeners. But it is still eight points ahead of the total sample, making it a viable image worth pursuing.

These charts represent just one data point from the survey. There are a lot of important lessons in talking to 30,000 radio listeners. On Thursday at 2 PM ET, the Jacobs Media team is hosting a free webinar where you can learn a lot more.

Regardless of your role at the station, there is a lot of valuable knowledge that’s going to be shared. If you’re interested, click here to sign up.

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.

Can Radio Capitalize on Netflix, Spotify ‘Streamflation’ Price Hikes?

Dr. Ed Cohen
-
0
Can Radio Capitalize on Netflix, Spotify ‘Streamflation’ Price Hikes?

While “everyone has Netflix and Spotify” might be the prevailing thought, could that change anytime soon?

Recently, The Hollywood Reporter ran an article — “Streamflation Might Be Nearing a Crisis Point” — citing the Bureau of Labor Statistics (BLS) Consumer Price Index (CPI) from December 2025. The CPI showed prices in the category “Subscription and Rental of Video and Video Games” had increased by 19.5% from November 2025.

The article had a point. BLS’ latest results for March 2026 show that the CPI for the “Subscription and Rental of Video and Video Games” category was up 13.3% year over year (March 2025 to March 2026). “Videodiscs and other media” were up 9.1%. “Recorded music and music subscriptions” increased by 6.2%. Just about everything we may want to stream is getting pricier:

  • Netflix, the leader in streaming, raised prices again
  • YouTube Premium is up by $2 per month
  • Disney+ and Hulu raised prices for their ad-free tiers
  • Amazon Prime Video increased the price for its ad-free Ultra plan by $2
  • Spotify‘s Premium Plan is now $1 more per month

That 13.3% year-over-year estimate for March was far above overall inflation. BLS said the CPI including food and energy was up 3.3% in the same period. If you take out food and energy, the estimate was 2.6%.

We know that oil prices are up, which makes transportation more expensive, and that’s reflected in the CPI with “Energy” up 12.5% year over year and “Motor fuel” up 19.2%. I’m not aware that any large amounts of fossil fuels are needed for streaming services, though.

What else is matching streaming for inflation? Here are some results from the latest CPI:

  • Beef and veal were up 12.1%
  • Frozen fish and seafood were up 10.2%
  • Tomatoes were up 22.6%
  • Coffee was up 18.7%
  • Candy and chewing gum were up 10.6%
  • Women’s dresses were up 10.2%
  • Audio equipment was up 15.0%
  • Computer software and accessories were up 11.9%
  • Airline fares were up 14.9%

On the deflationary side, the CPI results said:

  • Eggs were down by 44.7%
  • Butter was down by 8.3%
  • Smartphones were down by 13.8%
  • Admission to sporting events was down by 18.2%
  • Tax return preparation was down by 12.7%

Most of the swings were understandable. Oil is dearer due to the Iran war. Beef herds are at their lowest sizes in decades while we want to eat more beef. Tariffs have affected other commodities, yet there’s no obvious reason that streaming services should be higher — except that the companies providing the services, Netflix excluded, have been losing money on them. The result is what The Hollywood Reporter called “streamflation.”

As prices go up, we should expect “churn” to increase as well. How many subscribers will drop services or switch to lower-priced tiers — meaning ad-supported? In my household, we finally dropped the ad-free Netflix service for the ad-supported version. Can we afford $20 a month for the “no ads” Netflix (plus 6% Kentucky sales tax)? Yes, but for the time we spend with the service over the course of a month, it just isn’t worth $250 per year. My assumption is that plenty of households — many of which are far more stretched than mine — will come to a similar conclusion. Four-dollar-a-gallon gas can do that.

I think we’re headed toward more bundling in the future to reduce the overall cost and to cut the sheer number of subscriptions (the last data I saw said the average U.S. household has four subscriptions). If T-Mobile is your cell carrier, you may be getting Netflix for free. Charter’s Spectrum TV includes a number of streams in their offering.

Of course, you can get intro pricing for some services, drop them when the promotion runs out, and subscribe again later when the offer returns. I’ve done that with MGM+ multiple times, never paying more than 99 cents per month.

This is also a problem for the “second-tier” streamers. Netflix is the top dog. Amazon Prime Video is part of the Amazon Prime package, and a large majority of American households either have a Prime subscription or have access to one. Other services are acquiring sports content to sweeten their appeal. That leaves some laggards that have limited appeal and are likely to face headwinds if the economy stays sour.

Where does radio fit in with all this? It’s still free. Unlike many years ago when Sirius and XM started up, and broadcasters had to decide whether to accept advertising for a competitor, I haven’t heard of any radio buys for Spotify, Apple Music, Amazon Music, Deezer, Tidal, or any other streamer. Are you saying anything about “free” on your air? Are all those paid Spotify subscribers really getting $12.99 a month (plus tax in some states) worth of pleasure?

Put another way, is Spotify worth over $155 a year — over $165 a year in Kentucky with the sales tax — for the paid subscription? For some, the answer is “yes,” and there’s a free version of Spotify, and a version of Amazon Music is included in Prime. But “free” has always been a positive marketing word. Are we pushing that?

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.

Bob & Tom Show Host Bob Kevoian Dies

BMM Staff
-
0
Bob & Tom Show Host Bob Kevoian Dies

Longtime Bob & Tom Show host Bob Kevoian has died at the age of 75.

Kevoian died on Friday afternoon after a battle with gastric cancer.

The news was announced by the show in a post on social media.

”It is with profound sadness that we announce the loss of Bob Kevoian, beloved co-founder and longtime host of The Bob & Tom Show, who passed away peacefully Friday afternoon at his home, surrounded by family and friends,” the statement shared. “Details regarding memorial services will be shared at a later time.”

Kevoian retired from the show he hosted alongside Tom Griswold in 2015. It originally began in Indianapolis in 1983 after spending time together in Northern Michigan.

In 1995, the show entered national syndication. Following Bob Kevoian’s 2023 cancer diagnosis, he and his wife, Becky, launched a podcast called The Bob & Cancer Show. The show posted its final episode in February 2024.

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.

1...350351352...2,884Page 351 of 2,884