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Top JavaScript Frameworks for Building Internal Tools and Automation Dashboards

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Top JavaScript Frameworks for Building Internal Tools and Automation Dashboards

Behind every smooth operation lies an invisible network of internal tools that automate repetitive work and turn data chaos into structured insight. These dashboards power decisions, track performance, and connect teams in real time. The faster they run, the faster your company grows.

JavaScript sits at the center of this transformation. From lightweight prototypes to enterprise-grade dashboards, it enables flexible, fast, and visually refined systems that scale with your business. The best frameworks go beyond UI design — they help you turn internal data into strategic clarity.

Frameworks Overview: How to Choose the Right One

The right framework depends on your project’s scale, goals, and workflow. Some teams need enterprise stability, while others prefer lightweight tools for faster delivery. Comparing frameworks through real use cases gives clearer results than following trends.

Here are the main factors that help you decide:

  • Scalability — ability to handle large datasets and user growth.
  • Integration — compatibility with application programming interfaces (APIs), databases, and automation tools.
  • Community support — size, activity, and reliability of contributors.
  • Performance — speed of data updates and rendering.
  • Maintenance — ease of debugging, updates, and scaling.

Every choice affects developer productivity and the long-term sustainability of your product. When working with a JavaScript development agency, you can assess these aspects through prototypes and cost–benefit comparisons before committing to a single framework. The right decision early on prevents costly refactoring later.

Top JavaScript Frameworks for Internal Tools and Dashboards

Internal tool development relies on stability, reusable components, and real-time responsiveness. JavaScript frameworks offer all three, but each one has a distinct strength that suits specific business goals.

React — The Industry Standard

React leads the field by combining power with clarity. Its component-based structure lets you design dashboards where each chart, table, or widget updates independently. The framework integrates easily with libraries such as Recharts, Chart.js, and Material UI to enable rich and dynamic data visualization.

State management tools like Redux keep interfaces smooth and responsive, even as datasets expand. React suits projects that require scalability and dashboards that evolve in step with business workflows.

Vue.js — Lightweight and Flexible

Vue is known for its gentle learning curve and intuitive syntax. It helps smaller teams develop polished internal tools without the complexity of enterprise frameworks. Two-way data binding keeps dashboards responsive, while community plugins handle charts, forms, and visual elements with minimal setup. Vue works especially well when the speed of delivery matters more than deep customization.

Angular — Enterprise Reliability

Angular’s strength lies in its structure. TypeScript support, dependency injection, and built-in routing make it a natural choice for large, multi-module systems. Enterprises often use it to unify admin panels, HR dashboards, and analytics tools under a single framework. Its opinionated nature reduces chaos in teams with many developers and ensures consistency and security across internal apps.

Svelte — The Compiler Advantage

Svelte compiles code into pure JavaScript before deployment, which eliminates runtime overhead. The result is lightning-fast dashboards that load instantly and consume minimal resources. Unlike React or Vue, Svelte does not rely heavily on virtual DOMs, so performance remains stable even under heavy data loads. It is ideal for teams focused on speed and efficiency without adding technical debt.

Next.js — Beyond Frontend

Next.js merges React’s flexibility with server-side rendering and API routes. It enables you to build internal tools that handle authentication, data fetching, and permissions without external plugins. Its hybrid structure supports both static and dynamic pages, which suits internal dashboards connected to live databases.

Many developers choose Next.js for automation panels that require reliability, speed, and SEO-friendly architecture — even when used privately within companies.

Photo Credit: https://unsplash.com/photos/a-computer-screen-with-a-program-running-on-it-imgCpfIMoRw

Honorable Mentions: Niche or Specialized Frameworks

While the major players dominate the market, some smaller frameworks fill specific needs. They may not match React’s popularity but often outperform in specialized environments where speed or server-side optimization matters most.

Notable options include:

  • Remix: Efficient server-side rendering and simplified data loading for backend-heavy apps.
  • Ember.js: A convention-over-configuration framework suitable for large, long-term projects.
  • Meteor.js: Real-time synchronization between client and server for automation dashboards.

These frameworks deserve consideration when you want to test alternatives that align with unique internal processes or integrate directly with existing server logic.

Modern internal tools go beyond displaying data — they interpret it. JavaScript frameworks now connect seamlessly with AI APIs that handle prediction, anomaly detection, or workflow automation. For instance, React or Angular dashboards can trigger AI-driven analytics directly through cloud APIs, while Next.js enables serverless automation routines.

The rise of no-code and low-code extensions further amplifies these frameworks. Platforms such as Retool, n8n, or Appsmith combine JavaScript backends with drag-and-drop interfaces and give non-technical users the ability to build internal dashboards. At the same time, developers integrate serverless databases like Firebase or Supabase to reduce overhead and maintain real-time data pipelines.

The line between code and automation continues to blur. JavaScript stands at the core of this evolution and adapts easily to new tools and APIs that redefine how companies manage information and automate workflows.

A Smarter Path to Efficiency

The framework you choose defines how effectively your internal systems expand. React ensures scalability, Vue adds simplicity, Angular provides structure, Svelte offers speed, and Next.js connects frontend and backend layers. Each serves a clear role but shares one goal — faster, smarter automation.

JavaScript remains the backbone of internal tool development. It unites versatility, performance, and strong community support to create dashboards that guide decisions and improve workflows. With the right approach, your internal platform can grow from a support tool into a hub of intelligence that drives sustained efficiency and progress.

101.9 THE MIX Adds Jasmine Bennett To Weekends

BMM Staff
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101.9 THE MIX Adds Jasmine Bennett To Weekends

Jasmine Bennett is returning to her roots, officially joining Hubbard Radio’s 101.9 THE MIX in Chicago as the station’s newest on-air personality.

Bennett shared the announcement on social media, calling the opportunity a “full-circle moment” after growing up in the city she now gets to entertain over the airwaves.

Listeners can hear Bennett every Sunday from 10 a.m. to 3 p.m. A slot that places her in the heart of the station’s weekend programming lineup.

“Born and raised in Chicago, this opportunity truly feels like a full-circle moment,” Bennett wrote in her post. “I’m so grateful to be part of such a legendary station, an awesome team, and can’t wait to connect with listeners every Sunday.”

Bennett joins one of Chicago’s most established radio brands. 101.9 THE MIX has long been known for its upbeat adult contemporary format and connection with the local community. She joins

The station, owned by Hubbard Radio, continues to emphasize personality-driven radio—something Bennett has built her career around. She previously worked in the city as promotions director of iHeartMedia, and a weekend on air personality at KISS 103.5.

Her first official show airs this weekend. Marking the start of a new chapter both for Bennett and for The Mix’s weekend sound.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Colin Cowherd: Pablo Torre’s Clippers Investigative Story “Nobody Cares in LA”

BSM Staff
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Colin Cowherd: Pablo Torre’s Clippers Investigative Story “Nobody Cares in LA”

Colin Cowherd is never shy about sharing his opinions, but this week the host of The Herd with Colin Cowherd made it clear there’s one story he’s intentionally avoided on his daily radio program — the recent report from Pablo Torre regarding the Los Angeles Clippers, Kawhi Leonard, and team owner Steve Ballmer.

During a segment on The Colin Cowherd Podcast, Cowherd addressed why the story hasn’t made it into his show rundown. His explanation wasn’t about fear or bias, but about interest — or lack thereof.

“I’ll give you an example of something that I haven’t talked about [on The Herd],” Cowherd said. “The Pablo Torre, Kawhi Leonard, Steve Ballmer investigation — the reason I haven’t talked about it is I don’t care. The Clippers are not a topic on L.A. sports radio.”

Moreover, Cowherd argued that despite the team’s big-market location, the Clippers don’t move the needle in Los Angeles the way other franchises do.

“In L.A. it’s Dodgers, Lakers, Rams, USC,” he said. “The Clippers aren’t a top [story]. So, as a syndicated host, nobody cares.”

Cowherd compared the decision to past instances when he’s chosen not to engage in certain discussions, referencing when LeBron James faced backlash for comments about China. Critics at the time accused Cowherd of sidestepping controversy, but he framed it differently.

“People said that’s cowardice,” he said. “And I’m like, it’s bureaucracy. Nobody cares. That’s not a good topic.”

However, the longtime host emphasized that his success is tied to his topic selection, saying roughly 90 percent of his show’s effectiveness stems from choosing stories that resonate broadly.

“One of the things I found through the years — NCAA stories, the audience doesn’t care. They know they’re incompetent,” Cowherd said. “The Kawhi Leonard [story] … it’s the Clippers. Kawhi is an enigmatic, nonverbal, unlikable star. The Clippers are about the eighth most popular sports topic in the city in which they are based. And it’s complicated. It’s a complicated story.”

Cowherd praised Torre’s reporting and called him “terrific,” even noting that his media company, The Volume, once explored hiring him. But he added that the medium itself matters.

“I think it’s [Torre’s reporting] made for podcasting, not made for broadcasting,” Cowherd said, explaining that some topics simply fit better in long-form, conversational formats like those used by podcasters such as Joe Rogan.

“I every day choose stuff I can talk about in an eight-minute segment,” Cowherd concluded. “That’s what works for my audience.”

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Bret Baier Eyed by Bari Weiss As New CBS Evening News Anchor

BNM Staff
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Bret Baier Eyed by Bari Weiss As New CBS Evening News Anchor

CBS Evening News has seen a significant drop in viewers since Norah O’Donnell left the program earlier this year. New Editor-in-Chief Bari Weiss is reportedly looking at Fox News anchor Bret Baier as someone who can help fix the issue.

According to a report from Status’ Oliver Darcy, Weiss would like to ink Baier to a deal to anchor the venerable nightly news program.

However, Darcy notes that Bret Baier is in the midst of a multi-year contract with Fox News, making a deal to shift to CBS difficult.

The report also says that Weiss has considered internal candidates like Tony Dokoupil as well as kicking the tires on asking O’Donnell to return to the newscast as ways to invigorate the sagging ratings.

O’Donnell left the program in the days following the presidential inauguration. At the time of her exit, the nightly newscast averaged more than 5 million viewers per night, while still sitting behind ABC News’ World News Tonight with David Muir and NBC Nightly News, which was then anchored by Lester Holt.

In the most recent week, CBS Evening News averaged 3.7 million viewers, while the NBC News show — now anchored by Tom Llamas — averaged 5.7 million viewers, and the ABC News program featured 7.7 million.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

95.7 The Game Extends Broadcast Rights Partnership With Golden State Warriors

BSM Staff
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95.7 The Game Extends Broadcast Rights Partnership With Golden State Warriors

The Golden State Warriors and 95.7 The Game will continue their long-running partnership, announcing a multi-year contract extension that keeps the team’s broadcasts on the Audacy-owned station. The renewed deal ensures that 95.7 The Game remains the flagship home for Warriors basketball as the franchise enters its 10th season on the station in 2025–26.

The partnership, which began ahead of the 2016–17 season, has spanned one of the most successful eras in Warriors history. During that time, the team has reached four NBA Finals. Also capturing three championships, with the station serving as the consistent audio companion through the dynasty years.

Veteran play-by-play voice Tim Roye returns for his 31st season calling Warriors games. Former player and Bay Area radio mainstay Tom Tolbert will again join Roye as the analyst for home broadcasts.

As part of the agreement, 95.7 The Game will continue to deliver comprehensive Warriors programming. This includes 30-minute pregame and postgame shows surrounding every broadcast.

The station also plans to expand its daily coverage, integrating more Warriors and NBA-themed segments across its weekday lineup. That expansion builds on a strong relationship between the franchise and the Audacy San Francisco group. Which has consistently leaned into team content as part of its local sports strategy.

One of the staples of the partnership, Warriors Roundtable, will continue to air weekly at 6 p.m. Hosted by Santa Cruz Warriors and Golden State Valkyries play-by-play announcer Kevin Danna, alongside former Warriors head coach and general manager Garry St. Jean. The show provides insider perspectives and interviews throughout the season.

In addition, head coach Steve Kerr will maintain his regular weekly appearance on 95.7 The Game, giving fans direct insight from the team’s leader. Kerr’s interviews have become appointment listening for Warriors fans and a consistent driver of engagement for the station’s programming.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

What 77 WABC’s Anthony Cumia Learned About Radio and Himself in Decade-Long Wait For His Return

Garrett Searight
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What 77 WABC’s Anthony Cumia Learned About Radio and Himself in Decade-Long Wait For His Return

Anthony Cumia thought July 3rd, 2014, would be the final day he worked in radio.

On that day, Cumia was fired by SiriusXM for what the company called “racially-charged and hate-filled” tweets about a situation he was involved in with a Black woman, ending his 10-year run with the satellite radio broadcaster.

But after more than a decade away from radio, he made his return to 77 WABC in New York earlier this year. And to say it’s gone well would be an understatement.

After the debut episode of The Anthony Cumia Show, Red Apple Audio Networks launched the show into syndication due to demand from stations wanting to carry the program. After a few weeks, the show was increased from two hours to three, now occupying the 8-11 PM ET timeslot on the station.

And while Cumia was widely known for working on his long-running comedy show Opie & Anthony, he said that the transition to news/talk wasn’t difficult due to the content of his podcast that he launched in the aftermath of his SiriusXM show.

“Truth be told, I’ve been kind of going in that direction for about 10 years,” Cumia said. “When I finished my tenure over there at SiriusXM, I started a podcast network, Compound Media. And for the next 10 years, I was doing talk radio: a lot of guests and a lot of stand-up comics.

“With everything that was going on in the country and the world, it kind of morphed into a more political show, but still with the kind of light-hearted humor that I’d always brought … That really got me set up.”

Despite the podcast taking on a more political approach, Anthony Cumia admitted he never expected to return to radio.

“I didn’t even think I would be back on terrestrial radio,” he shared. “It was so strange. Opie & Anthony was on satellite radio for 10 years after it was on terrestrial, and then I did 10 years (of podcasting). So we’re talking almost 20 years that went by that I had not been on terrestrial radio, so I was surprised (when WABC called). But things come full circle.”

Cumia added that his decade of podcasting helped him hit the ground running when the opportunity with 77 WABC presented itself.

“It gave me the opportunity to make so many mistakes and to really try to sharpen what I wanted to do,” said Cumia. “I like to bring an element of humor to it, even if it’s a serious topic. Having that podcast allowed me to do that without having someone hovering over me and telling me what I could or couldn’t do. It gave me the opportunity to really see for myself what worked and what didn’t work, as far as that format goes.”

Cumia admitted he was caught off guard by the initial success of the program, despite feeling prepare to execute the format.

“I was pretty surprised by that,” he said of the demand from affiliate stations to want to carry the program in markets outside of New York, where 77 WABC is based. “I’ve never been a pat myself on the back kind of guy. Any kind of advancement I’ve gotten in this broadcast career, I’ve always looked and gone, ‘Oh geez, I hope they don’t find out I’m just Anthony Cumia.’ In those 10 years of podcasting, I realized I’m good at this. I know what I’m doing when I’m doing this type of radio.

“So there was some vindication. The vindication of stations coming to the table and wanting to put me on their platform; it proved to me that I know what I’m doing,” he continued. “I have a talent to do this.”

The news/talk format isn’t known for having hosts with a comedic background. But Anthony Cumia believes it helps separate him from the pack, making his show both unique and remarkable.

“I’m just not like all the other news talk radio personalities. I put that unique twist on it with my own personality,” he said, after noting that there are plenty of great hosts who operate differently. “I’m not just reciting talking points or the news. I’m adding impressions and joking around with the callers and bringing some levity to a topic that can pretty quickly get depressing or anxiety-inducing. I’m using humor to make it a little more palatable.”

When asked what the future looked like, Cumia said he’d like to continue diving deeper in the news/talk space, noting that having a weekend show isn’t simply a hobby for him and something he’s doing for fun. It’s the next evolution of his long career.

“It did rejuvenate me and my feeling about radio,” he said. “I went into it full speed ahead … It’s a lot of fun. It’s this rejuvenation and the competitive aspect of the whole thing that has totally come back to me. I want to be on a lot of stations. I want to do more broadcasting on terrestrial radio across the country.”

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

‘First Take’ Correctly Handled the Breaking FBI Investigation Involving Current, Former NBA Players

John Mamola
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‘First Take’ Correctly Handled the Breaking FBI Investigation Involving Current, Former NBA Players

The NBA had a bad day yesterday. After all the pomp and circumstance of two of the biggest nights in the league’s recent television history, a bomb dropped. News channels, social media, and yes, even ESPN were there to cover it all, as news programs and social channels tend to do. Different shows have different methods for covering news; First Take is no different.

When news broke that Portland Trail Blazers head coach Chauncey Billups, Miami Heat guard Terry Rozier, and former NBA guard and coach Damon Jones were among more than two dozen people arrested as part of a widespread FBI investigation. There was immediately a microscope placed on how ESPN handled the story. The network is one of the league’s biggest media partners and has morning programming that garners attention for how it presents the news of the day.

However, what many in sports media pointed out as First Take hit the air at 10 a.m. Eastern — as a mistake — was exactly what should have happened. The controversy surrounding how the program handled the breaking news was driven by armchair critics looking for likes and shares. Instead of recognizing the root purpose of what makes First Take the most polarizing program in sports television.

Media continues to live in an age where being first is more important than being right. It’s a dangerous way of approaching journalism, risking errors in reporting when facts have yet to be made public. Sports media can only source so much when real-world news breaks, because sports media doesn’t operate in that lane.

Bryan Curtis of The Press Box podcast put it best on social media, tweeting, “Welcome to another edition of Insiders Try to Handle Real News.”

Knowing Your Program

The FBI called a press conference that started before First Take went on the air at 10 a.m. Eastern time. Did Get Up, the show prior to First Take, carry the press conference live? After bringing in Shams Charania with his latest on the reports, that program went back to breakdowns of A.J. Brown, Bussin’ With The Boys on college football, and picks for the weekend of NFL action.

Yet, no one in sports media said a critical word about Get Up for not taking the FBI press conference in real time.

First Take began as normal. Discussions around NBA action from the night before, circling to a preview of Aaron Rodgers playing the Green Bay Packers on Thursday Night Football. It took First Take a half hour to address the story that broke that morning. Yet sports media lit a fire under the decision to sit and wait for details to become available.

Why so hard on one show when not a peep about the other? The press conference was live during both programs, yet there’s a complete slant in the criticism of how the coverage was handled.

Waiting On The Debate

First Take is not CNN, FOX News, nor MSNBC (or whatever they’re calling that channel now). It’s not a hard news program — it was founded on embracing debate in sports. While the lines have blurred in recent times between fact and editorial, First Take made the correct play in waiting for the allegations to be revealed before pontificating on the matter at hand.

Yet, many in sports media made a mockery of that decision, taking side-by-side photos for social media and sharing exact timelines of events — minute by minute — of what First Take wasn’t doing, instead of why they chose to do it this way.

Wouldn’t it make more sense in a debate to have the facts first? I thought facts mattered most in any debate — it’s how you build your argument.

Different shows have different methods for handling breaking news.

Are people going to tune away from First Take because it didn’t mention “reports” of what was going on without actual substance to provide the audience? Would it have made more sense to take the press conference live?

ESPN Starts With Entertainment

Sports fans don’t turn to ESPN anymore for hard news coverage. The network seemingly can’t produce that kind of content like it once did, and viewers no longer expect it with the number of ways to get hard news instantly.

ESPN is an entertainment network, with First Take serving as its guiding entertainment vessel. That’s why criticism or outrage over the program deciding not to take the FBI press conference in favor of sticking to sports shows a deeper issue — a deeper resentment for a network and select personalities on that network from those who live for immediacy and the likes and shares that come with it. Social media clout only lasts so long when there’s a bigger picture to be seen.

First Take’s only take on how it handled the news of the day should serve as an example of why being first isn’t necessary — and why knowing your audience matters most. Maybe First Take didn’t jump in right away, but that’s what made it the right move. When the dust settled, viewers got what they came for — informed debate, not wild speculation. In the sports world, that’s called playing smart, not playing scared.

At its core, First Take did what responsible debate television program should do: pause, confirm, and then engage. In an era where speed often trumps substance, waiting for facts isn’t hesitation — it’s integrity. The show reminded everyone that sometimes the best “take” is patience.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

‘Inside the NBA’ May Be Wearing a New Jersey, but the Program Remains Legendary

John Lund
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‘Inside the NBA’ May Be Wearing a New Jersey, but the Program Remains Legendary

If you closed your eyes on Wednesday night, you might have thought nothing had changed for the best studio show in sports history. The voices, the jokes, the chemistry—everything felt like classic Inside the NBA. But open your eyes, and the difference was impossible to ignore. The big, bright four-letter logo glowed in the middle of the desk on wide shots: ESPN had replaced TNT.

The letters reflected off Shaquille O’Neal’s shoulder on close-ups and flashed in the corner graphics. The legendary crew—Charles Barkley, Ernie Johnson, Kenny Smith, and Shaq—were still there but now, like a player traded in the off-season, in a new uniform.

At first, it felt like watching Shaq go from the Magic to the Lakers or Barkley from the Sixers to the Suns. The show’s debut on ESPN marked the start of a new era.

The NBA’s official opening night happened Tuesday on NBC, and it was pure spectacle.

The familiar peacock logo, Mike Tirico’s voice at the mic, and the iconic “Roundball Rock” theme set the stage for a night dripping with nostalgia. Fans watched the NBA champion Thunder (the Sonics, the last time NBC had broadcast rights in 2002) host the Rockets in an OT thriller.

Steph Curry’s Warriors faced a Lakers team sans LeBron but featuring Luka in Los Angeles. It was emotional, cinematic, and a reminder of basketball’s storied past.

The Real Opening Night

Yet just 24 hours later, the spotlight shifted. If Tuesday was the NBA’s return, Wednesday was the return of its soul. Still the same Studio J in Atlanta, it was the main attraction, with Inside the NBA’s crew outshining even the league’s brightest stars.

Fans spent the offseason wondering if Inside the NBA could keep its mojo after the move from TNT to ESPN. Charles Barkley himself questioned the shift, joking about his resistance to working for ESPN and worrying about how much freedom the show would have. The answer came quickly in the first segment of the show.

Inside the NBA launched with a montage of Barkley’s past ESPN barbs, only to reveal him grinning under the new logo. The segment was self-aware and classic Inside. The crew immediately dove into playful banter, debating who was smooching ESPN’s rear end the hardest. Barkley called it an honor, gushing that all athletes dream of working for ESPN while growing up. Kenny tossed him a napkin for all the “kissing up.”

First-night nerves were obvious. The guys were a touch tight at first after the opening network-change banter, and the first couple of segments felt like a careful test of boundaries—like a boxer in the early rounds of a prize fight. But when the new-old Inside music hit the break, it was a calming influence, like incense wafting through the set, reminding everyone it was still Inside, no matter how many letters appeared on the graphics.

By the second half-hour, the team was riffing and joking like old times, proving once again that chemistry trumps logos.

Soon after, Shaq declared Inside’s return “the real opening night.” He wasn’t wrong. Tuesday’s NBC broadcast was big, but Wednesday on ESPN felt even bigger. Same Studio J, same crew, but on a grander sports stage. You can bet Inside the NBA will force all shows on the network to step up while it strives to keep its crown at the top of the mountain.

ESPN Was Hands Off

TNT started as Hollywood and movies; ESPN has always been all-sports, all the time. The games on “real opening night”—Cavs at Knicks, Spurs at Mavs—were important, but the real show was at the desk. Chuck even delivered his first trademark NBA guarantee of the season: Knicks to the Finals. Bold, unfiltered, quintessentially Inside.

The transition to ESPN came with questions about Barkley’s workload, a much-discussed offseason topic. The star of the show was adamant: he had a certain lifestyle to maintain and wasn’t about overexposure like Stephen A. Smith. Chuck’s schedule flashed repeatedly on-screen, referencing the notorious ESPN “Car Wash”—the intense, all-day media circuit.

Would Barkley have to run the full gauntlet?

For now, he says he’s been spared. Purists rejoiced—no surprise cameos from 24/7 Stephen A. or the ever-present Kendrick Perkins. The only surprise appearance came from Mickey Mouse in the final segment. Disney is ESPN’s parent company—the only acceptable deviation from the norm.

The biggest visual change of the night, though, might not have been ESPN replacing TNT. Fans on social media quipped about a slimmer Barkley, kicking off “Ozempic Chuck” jokes. The perfect commercial break followed: RO, the telehealth GLP-1 brand, featured thin Chuck talking about his new, lesser self.

The crew couldn’t let it slide.

Barkley insisted it was his new lifestyle, not just “the shot.” Social media jokes flashed on-screen; Shaq doubted his once-larger counterpart—Inside at its comedic best, every topic fair game.

New title sponsor Popeyes Chicken also dominated the show, its orange branding flanking each side of the ESPN logo on the desk. Shaq called for “more soul” in the ad reads. Ernie noted Popeyes had been mentioned “406 times in a segment and a half.” X lit up, confirming the chain got its money’s worth—maybe for the season. The crew turned corporate integration into comedy, never letting it intrude on the show’s natural flow.

It worked so well, I had a sudden craving for a three-piece meal with red beans and rice.

As the show wrapped, it became clear that what mattered wasn’t the logo but the chemistry behind it. The music still hit. Studio J still felt like basketball’s living room. After acknowledging the past and present home of the show, the crew’s humor was as sharp as ever. ESPN didn’t remake Inside the NBA; they gave it a bigger stage and maybe a slightly tighter dress code.

For your ears, it was as if nothing changed. For your eyes, the difference was in those four bright letters—a new chapter for the best studio show in sports history.

Same team. New jersey. Different, but the same. Let’s hope it stays that way.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Radio is No Longer at the Center of the Concert Ecosystem

Keith Cunningham
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Radio is No Longer at the Center of the Concert Ecosystem

Rush just sold out their 2026 Fifty Something Tour without breaking a sweat and without the traditional help needed from radio. Radio was not ignored. Brands participated, promoted, and played an important role in the tour’s rapid sellout — but spot buys weren’t what they once were for concerts.

Rush still loves and appreciates radio, that’s not what this is about. It’s just a new chapter in the long-held romance between radio, concerts, and artists.

Let’s start with a few general truths.

Seeing a great live band beats a killer movie every night of the week. You won’t find a human who doesn’t think today’s ticket prices are insane. Ad dollars spent at radio by concert promoters are shrinking. Outside of arena and stadium bands, it’s tougher for artists to make money touring.

For those of us in radio, it’s not just shrinking spot buys. Remember when bowling with a band was just a normal promotion? When radio turned down more flyaways than it accepted? Remember when having a station section at the concert was beneficial for all?

Not anymore.

Fact: Since the day I was a banner hanger and saw Tool slay at Red Rocks, the average ticket price has gone up 400% — mid-‘90s to now — $25 to $135 (for major tours).

Don’t expect it to get better.

Shirley Manson of Garbage said touring is no longer sustainable for her band due to the rising costs of being on the road, among other variables that funnel out most of the money before it ever gets to the band. On the promoter end of the spectrum. It’s been reported that Live Nation CEO Michael Rapino said concerts are “underpriced.”

But what we do know is big shows announce on social media. The Foo’s dropped details of their stadium tour yesterday morning online, not with a big ad buy. Smaller shows skip buys altogether. Comps are much harder to get. And Zoom has made getting an artist into the station more difficult than getting Sydney Sweeney to do a takeover.

Radio is no longer at the center of the concert ecosystem. This isn’t artists, Live Nation, AEG, or other promoters not believing in radio or intentionally giving the industry “the hand.”

It’s just business. Think about it.

Promoters have been collecting data on concertgoers for years. They know who the audience is. They don’t need to “mass market” when Green Day rolls into town because they can text or email all the Green Day fans on their own.

Artists can often sell out shows through their socials, but even then, they’re making far less on music sales, which makes performance fees higher and merch much more important.

Labels and managers have more promotional relationships to manage these days — not just for this tour, but for the next and the next. Neutralizing everything today saves them headaches tomorrow.

Festivals have only amplified the shift. One lineup can feature several headliners, each promoting to their own base — making big marketing unnecessary. Production costs scale better, artists save on road grind and costs, and fans get more for their money.

Radio will only help its own cause if it becomes a stronger partner. How?

Like Apple used to say — think different. It’s not about selling “airtime” or the typical spots, dots, rankers, and caller 10 contests. Today, the focus must be on audience access and curation — and bringing new, measurable, and trackable value.

Radio is still the most effective way to quickly get an important message out to the masses. There’s a reason the government established the EAS for radio. But a promoter isn’t releasing tornado information. They just want to reach Wet Leg fans in the most cost-efficient way possible.

None of this means radio can’t find ways to earn a bigger share of today’s smaller pie. Something is better than nothing.

The following aren’t written in a foreign language, but rarely are they implemented to the point of making a real difference to promoters dictating spend.

Truly grow and use the station database to create “super fan squads.” Those who are incentivized to help spread the word on pre-sales, discounts, etc.

Talk real data — not “our share is this, our cume is that.” They’ve heard the quantitative speak. But have they heard the qualitative bombs you can drop that can translate to sales?

“If we don’t sell tickets, we don’t get paid.” Create exclusive pre-sale links or short codes to drive direct sales that are trackable. Direct sales results are only going to become a bigger requirement — not just for concerts, but for all advertisers.

Bands rely on merch. Put money in both pockets. Design co-branded, drop-ship merch that brings shared revenue or charitable contributions.

With the right sales staff, all it takes is one pair of good seats to build a sponsorable package — with transportation, dinner, and hotel. That can bring more effective frequency than the typical mid-range spot buy.

There’s no shortage of ideas. Even the usual suspects like concert calendars can be refocused for a new and more targeted model.

Concerts may not need radio like they used to, but they’ll always need what radio can uniquely deliver: real fans, real emotion, real results.

See you at the show. Bring your earplugs.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

How AI Can Make Radio Sound Alive Again This Halloween

Phil Becker
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How AI Can Make Radio Sound Alive Again This Halloween

Forget “Monster Mash” and haunted house ticket giveaways. Halloween 2025 is radio’s chance to prove it’s still the master of immersive sound. This year, the monsters can talk back and I’m going to show you how.

Your Imagination Has New Production Values

For decades, radio has claimed to be “theater of the mind.”

Too many stations traded imagination for efficiency: more logs, fewer ideas.

Halloween 2025 is the moment to flip that script. Not by adding a moan and chains before “Thriller,” but by re-embracing what makes this medium electric in the first place: its ability to create worlds from sound.

Generative tools like ElevenLabs, Suno, and Fish Audio aren’t novelties anymore. They’re instruments. They can voice, score, and sculpt experiences in real time. For the first time, one creator can be an entire creative department, writer, director, voice actor, cast, and producer in a single login.

Imagine this: Dracula and the Wicked Witch hosting morning drive (The Boo Crew), Beetlejuice bringing liners to life (a daunting task given that he’s technically dead), Freddy Krueger owning nights (naturally).
That’s not a ghoulish gimmick; that’s remarkable audio you can make in minutes.

I know, because I built it, alongside Bo Matthews and Rameen Madani at Super Hi-Fi and Mark Long at Camel Creative. We’ll show you how. Dun dun dah!

How We Built a Haunted Station in 24 Hours (and Lived to Tell It)

In less than a day, we conceptualized, wrote, prompted, voice-acted, and produced an entire haunted radio station. Freddy, Beetlejuice, Dracula, Ghostface, Frankenstein, Igor, and a very judgmental witch formed our on-air staff (HR is still investigating the witch – broomstick metaphors).

The result wasn’t a playlist with sound effects. It was an audio film. Every segue felt cinematic. Each stopset had a storyline. Every element delivered the same reminder: radio can still make you feel something.

Hear the Haunting

Below are a few favorites, voiced entirely by AI:

Not Just Spooky Season. Story Season

This isn’t about themed logs or slapping your logo on a pumpkin. It’s about immersive world-building.

A news station could have Frankenstein deliver headlines:

“BREAKING: Villagers report another torchlight protest.”
(Which, if we’re honest, sounds a lot like modern life).

A sports host could debate Dracula:

“He’s got bite, but no daylight performance.”

Your Second Date Updates can go seasonal:

Caller: “We met at a haunted corn maze. Great chemistry. I texted her after… and nothing.”
Host: “Maybe she ghosted you.”

Aside: “Ghosted” is a better name than Second Date Update. It isn’t a second date update at all. It’s a phone call about the first date. Radio and its obsession with rhyming… woof, or maybe howl, more on brand.

When AI is prompted with intention, every format, music, news, sports, has a doorway into storytelling. And in a moment, I’ll give you the exact prompts I used to create this sound from my basement. (Scarier in name than reality,  it’s just where the home office lives).

Meet the New Creative Department: You

When I launched AI Ashley on KBFF in Portland, the industry asked the same predictable question: “Who owns the voice?”

That was then.

Today, the smarter question is: “Who’s writing the prompts?”

The advantage no longer belongs to whoever has the best voice or the biggest staff. It belongs to whoever can imagine, write, and produce at scale. With the right writer and toolkit, one person can now sound like a station of dozens.

The tools don’t close positions. They open possibilities for your most talented people. Reward your creatives. Empower your most gifted. Give them the resources that turn imagination into airtime.

When the Commercial Breaks Become Part of the Story

Advertisers can join the séance, too.

With a few well-aimed prompts, a local tire shop becomes Transylvania Treads, with Dracula upselling snow tires:

“They grip the road… even when you’re fleeing Van Helsing’s prying eyes.”

A pumpkin patch ad can feature Ghostface whispering, “do you like scary carvings?”

These aren’t gimmicks. They’re localized theater built in minutes instead of meetings. Generative AI lets clients perform instead of merely announce.

Summon Your Own Monsters

Try these prompts in the AI platform of your choice. Use them as-is, or twist them to fit your format.

  • Beetlejuice: “Create a male voice in a deep, lower register with a gravelly, raspy texture and no accent. The pacing should be fast and animated with playful energy, using wide pitch swings up and down for comedic effect. The personality is mischievous, sly, and unpredictable. A charismatic trickster who sounds bass-heavy, lively, and fun.”
  • Freddy: “Create a male voice in a deep, gravelly register with a burned, gritty texture and no accent. The pacing should be slow to medium with taunting rhythm, dripping with menace and dark humor. The personality is cruel, sarcastic, and sadistic. A nightmare trickster who sounds amused by fear, confident, and always in control.”
  • Ghost Face: “Create a male voice in a mid-to-low register with a smooth, menacing tone and no accent. The pacing should start calm and conversational, then shift to quick and intense when threatening and  playful but dangerous. The voice should sound as if it’s coming through a phone line, with a subtle compressed, filtered quality like a horror movie call. The personality is taunting, intelligent, and sadistic. A manipulative killer who enjoys the game and sounds amused by fear.”

The Sequel Starts Now

This Halloween, radio can sound seasonal or supernatural. While others spin “Thriller,” your station could be inside one.

We’ve spent years equipping sales teams with every advantage under the howling moon: Analytic Owl, Veritone, Efficio, attribution dashboards, one day sales, cold-call software, AI lead gen, and every other shiny tool that promises another tenth of a point in yield. Meanwhile, the creative teams? They’re left holding a Google Doc and a dream.

If we expect innovation, we have to start funding it. Let’s give the people who imagine for us the same resources we give the ones who invoice for us. Content isn’t an expense line, it’s the reason the rest of the lines exist.

The Real Ghost Haunting Radio Isn’t AI It’s Apathy

The real ghosts haunting radio aren’t digital. They’re old habits.

If your Halloween plan is still just hitting the stop set on time and saying “Happy Halloween” between songs, it’s time to exorcise your approach.

Hire writers. Hire thinkers. Add those who see audio not as a schedule, but as a story engine.

This Halloween, AI won’t ‘kill’ radio. It’ll hand you the keys to the crypt and whisper, “Go make some noise, boo.” (Said lovingly, not seasonally).

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