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The Psychology of Feedback: What Every Radio Program Director Should Know

Keith Cunningham
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The Psychology of Feedback: What Every Radio Program Director Should Know

Not giving feedback is the worst type of feedback a talent can get. Even if they won’t admit it, all entertainers have some degree of insecurity. That’s not throwing shade — it’s just natural.

When someone creates or performs, it’s human nature to want feedback.

  • A like or share on IG
  • Laughter from the crowd
  • A buyer for your book
  • A caller trying to be #9

Even haters or hecklers qualify — not ideal — but at least they’re paying attention.

When managing talent, the worst thing one can do is clam up and not provide some type of feedback. Good, bad, “try this,” “don’t ever do that.” Talent needs to hear something from their manager — coaching, a compliment, proof that someone important is listening.

This is especially true for radio talent that doesn’t get much real-time feedback:

  • The QB has a coach in his ear.
  • Comedians can gauge laughs.
  • Sydney Sweeney gets direction every scene.
  • Online creators get instant metrics (and silence countsas a reaction).

Now think about most RockTernative DJs. They’re locked in a small, soundproof studio by themselves, heart and soul pouring out, trying to entertain an invisible audience. And most feedback they get is shaky at best.

  • Mom says they should talk more.
  • The stalker says it was their best show ever (even if it was their worst).
  • A listener just wants to win something.
  • A caller won’t rest until his band gets played.

Imagine doing a four-hour radio show and never hearing a word about it. That’s a first-class ticket straight to Crazytown.

Photo Credit: LinkedIn

Getting the best out of talent and knowing what and how to coach are learned skills. It starts with being human and understanding everyone has a different rhythm. Some feed off positive feedback, others just want to know what they could have done better. Both are equally important.

  • Tell a girl she looks great in that red dress — she’ll wear it more often.
  • Tell a guy to stop calling women “dude” — he might actually get a date.

This isn’t about formal airchecking — that’s strategy, ratings, formatics, blah blah blah. That’s a different meeting.

This is about positive touchpoints that will help the psychology — or mindset of talent to build confidence, trust and connection. It’s not ego-stroking or blowing smoke. Throw the flags when they’re deserved but let your talent know you’re in the fox hole with them.

You’re paying attention, watching their six.

Most Program Directors have fifteen jobs already, but small touchpoints can make a big difference.

  • The bathroom meeting: “I heard your take this morning on if man has ever landed on the moon — interesting, a great discussion!” That’s not coaching, it’s a connection.
  • The hallway drive by: “That caller this morning, with the accent, trying to sing Godsmack lyrics was hysterical. Let’s get her on more.”
  • Random check-ins: “I was at a BBQ, a girl said your topic kept her in the car an extra 20 minutes.” 

Subtle and positive, but quietly powerful.

Most leaders think the airchecking hammer-fest is when coaching happens. Yes, it does, but that only goes so far. If that’s your only connect, it’ll lead to disconnect.

Entertainers need to hear positive feedback as much as they do about forward momentum. All the other times in between official meetings matter and can add up. 

Confidence can beat formatics. Fix the psychology first, and perfect horizontal teases will follow.

Television Networks Have Become So Reliant on Live Sports for Their Own Survival

John Lund
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Television Networks Have Become So Reliant on Live Sports for Their Own Survival

There was a time when network television ruled American life. You turned on the set at 8 p.m., maybe flipped on Dr. Dreamy and Grey’s Anatomy, checked out one of the many NCIS spinoffs, and still caught the evening news before bed. Now, the only thing that can still bring millions of people together at the same time — in the same place — is sports.

That’s why ABC, CBS, NBC, and Fox aren’t entertainment networks anymore. They’re becoming sports networks that happen to air entertainment. The writing is on the wall, and it’s in bold, italicized font.

For decades, broadcast networks relied on a mix of scripted dramas, sitcoms, reality TV, and sports to balance their schedules. Now, the math doesn’t work. Scripted shows are expensive, and audiences have fragmented across streaming, social media, and YouTube.

Here’s the reality: when I see advertisements for NBC, CBS, ABC, or Fox shows during live sporting events, I wonder how these scripted dramas and comedies are supposed to compete with Netflix, Prime, or Apple TV+. Those platforms have massive budgets, bigger stars, the freedom to take creative risks, and the ability to go further than a network broadcast ever could. No wonder ratings continue to plummet. I can’t remember the last time someone suggested a non-sports show from the Big Four as “must-watch.”

The Audience Has Adjusted

Even the networks’ most consistent non-sports hits can’t compete with marquee live sports.

CBS: Its top non-sports show, Tracker, averages roughly 10.8 million viewers per episode. That sounds decent until you see CBS’s Week 5 NFL singleheader — Broncos vs. Eagles — pulling 19.6 million viewers. NFL numbers aren’t staying stagnant. That broadcast was the network’s highest single-game viewership since reacquiring NFL rights in 1998. Sports nearly doubles the audience of the network’s flagship scripted drama.

NBC: Chicago Fire, the network’s highest-rated non-sports program, averages 7.8 million viewers, while Sunday Night Football, like the season opener featuring the Bills vs. Ravens, drew 24.7 million viewers — more than three times the audience of NBC’s top scripted show. For the NFL season to date, SNF averages over 21 million viewers per game.

ABC: The most consistent scripted hit, High Potential, clocks in at 6.6 million viewers, far below ABC’s college football and NFL broadcasts, which routinely hit 15–20 million viewers.

Fox: 9-1-1 Lone Star, the network’s top non-sports show, averages just 4.3 million viewers, dwarfed by NFL broadcasts reaching 20+ million viewers.

Why Live Sports Works

Overall, NFL broadcasts through Week 5 of the season are up 8% year over year, with an average of nearly 19 million viewers per game.

The contrast is stark. Even the networks’ highest-rated scripted shows cannot match the appointment-viewing power of live sports. NFL and college football aren’t just ratings drivers — they’re the backbone of network TV’s relevance.

They’re reliable, communal, and nearly DVR-proof. But they’re also expensive. NFL, college football, the Masters, and March Madness all cost networks tens of billions collectively. Without them, broadcast TV’s ratings would plummet, and advertisers would flee.

This economic squeeze explains the shift in strategy: bundling, streaming, simulcasts, and cross-platform distribution. NBC pairs Sunday Night Football with Peacock, CBS streams NFL games on Paramount+, and ABC leans on ESPN+ to extend its college football reach.

Networks are basically trying to hedge: get as many eyeballs as possible while offsetting rising rights costs.

Sports rights in the U.S. are projected to surpass $30 billion annually. Leagues have learned to play networks against each other — and increasingly against streaming giants — to inflate the price. The NFL alone accounts for some of the most expensive packages in TV history, with CBS, NBC, and Fox collectively paying over $110 billion for rights through 2033.

NFL Commissioner Roger Goodell is on record saying he’d like to open the vault before then to vacuum more money from the pockets of these networks.

Even reality shows, which once gave networks a safe haven, are down. The Bachelor series, which has been around since 2002, peaked at about 9 million viewers in 2007. This past season, The Bachelor averaged 2.5–3 million viewers. Past reality hits like American Idol are down 15–20% from their glory days, which peaked at 6–7 million viewers — still only a quarter to a third of what regular-season NFL games consistently grab.

We’ll Do It Live!

The cultural center of gravity has shifted. If it’s live and appointment-based, it’s on broadcast. If it’s scripted or bingeable, it’s on a paid platform. Sports isn’t just a ratings driver anymore — it’s the only thing keeping the broadcast model alive.

Will broadcast TV survive? Maybe. But only as a sports-first, event-driven ecosystem — a kind of communal campfire for an increasingly scattered public. Networks once defined pop culture; now they’re caretakers of live sports, waiting for the next rights cycle to see if they’re still invited to the party.

The irony: even this last bastion is under siege. Amazon, Apple, and Netflix are muscling into live rights — NFL on Netflix, Premier League on Amazon, MLB on Apple — testing whether broadcast is even necessary. If those experiments succeed, the networks’ last stand becomes a slow fade.

Broadcast television won’t vanish overnight. But the balance has flipped. Sports are the lifeblood. Entertainment is the garnish. And when the games end, the lights go out.

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.

Why Billy Gil’s Exit From ‘The Dan Le Batard Show’ Reminds of the Value of a Producer

John Mamola
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Why Billy Gil’s Exit From ‘The Dan Le Batard Show’ Reminds of the Value of a Producer

The Dan Le Batard Show has experienced a slew of changes over the past year, including yesterday where Billy Gil announced his departure effective today. The Miami-based program has seen co-host Jon “Stugotz” Weiner step down from his post to take on a much-reduced role while he builds his own programming. Producers Jessica Smetana and Lucy Rohden are no longer regulars on the program, as they’ve also taken on new responsibilities and ventures.

While the foundation at Meadowlark Media remains stable—thanks to the company’s new distribution deal with DraftKings. The pieces of the program continue to depart. On Wednesday, it was revealed that executive producer and co-host Billy Gil would be leaving the program for a management role at Spotify, as the platform begins its partnership with Netflix.

What stood out most was Le Batard’s salute to Gil as he opened the show on Thursday. The former ESPN Radio host and Miami Herald scribe has never been one to hide his emotions from his audience. That vulnerability is what made him who he is and reinforced the connection he has with those who consume his work. The appreciation Le Batard showed for a man who spent 15 years by his side—through every phase of the show’s history, from ESPN to Meadowlark—is something every talent-producer relationship should strive for if given the chance. It also serves as a wake-up call to broadcasters across the industry.

Sports media is a relationship business. Through every twist and turn, members of the sports media fraternity meet, greet, and network with one another, building community from within. In sports radio, however, talent and producers are often assigned. Chemistry isn’t guaranteed, and egos frequently clash.

I’ve worked with talent as a producer that I got along with. There have been instances where we never saw eye to eye.

A Producer’s Role

What’s rare—especially in sports media today—is the kind of bond between talent and producer that Le Batard had with his “shipping container” of producers and co-hosts. They’re family to him. You can tell from the playful jabs they exchange to the moments of raw emotion that bleed through the screen.

Gil was part of the team that guided the show from a local Miami radio program to an influential national presence on ESPN Radio, before evolving into a flagship example of how sports media can thrive independently through Meadowlark Media. He spread his wings as Stugotz broke off into his own venture, assisting his teammate along the way.

In most cases, when a talent breaks away from a show and a producer helps with the new venture instead of focusing solely on the main program, it can create tension. Many talents over the years might see that as disloyal. In truth, though, it’s the mark of a genuine team player.

When shows come to an end or talent move on, the goodbyes almost always begin with those “behind the glass.” The role of a producer is half content creator, half therapist. Talent are fragile people who put themselves in the spotlight for the public to take shots at daily. The producer is the ear that listens. A coach that motivates, and the pilot that guides the flight—all in one.

A Solid Producer Is Invaluable

It’s not an easy job, and very few producers last as long as Billy Gil did with one talent or program. The hours off-air—crafting ideas, booking guests, feeding lines, taking notes, conducting airchecks, and sitting through manager meetings and think tanks—are all in a day’s work for the producers of sports radio.

The position once carried prestige, but unfortunately, the way many broadcasting companies treat it today is disheartening. No talent succeeds without the steady hand of a solid producer.

It’s a marriage—arranged in most cases—but true to the concept. As the saying goes, behind every successful man is a strong spouse. For every successful sports talk talent, there’s an underpaid and underappreciated producer.

Le Batard’s words reminded me of my final days as a producer at 670 The Score. The hours, the sacrifice, the success—all worth it, because I still have the respect of my peers, former management, and friends from that time. Was I underpaid? You bet. But the work was the cost, and the end result was priceless with every show we built.

Le Batard said of Gil’s departure:

“This thing is an unholy beast to produce every day. The sloppiness of a feature, not a bug. The hosts more bulls than butterflies. Billy’s gentle grace behind the scenes and creative color in the scenes are not things that can ever be replicated—ever. Never mind replaced. All of this will be harder without him. Obviously, our soul won’t be the same. I’m not even going to try and pretend it will be.”

He waxed poetic about the journey—the highs and lows—and yet, through it all, Gil stuck it out and remained as positive as ever. He more than filled the role of half content, half therapist. Le Batard wept over his departure.

Every new beginning comes from some other beginning’s end. There are lessons in the journey and teachings in the scene. What Le Batard’s words showed is that broadcasters should begin re-educating themselves on the importance of the producer’s role. Because without strong producing, what—if anything—is the content worth?

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 Bruce Collins Manages Both WBAP and KLIF 570 For Cumulus Dallas

Garrett Searight
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How Bruce Collins Manages Both WBAP and KLIF 570 For Cumulus Dallas

Running a news/talk radio brand can be difficult work. At Cumulus Dallas, Bruce Collins is running two, as he heads up both WBAP and KLIF 570.

Throw in the fact that, in 2024, WBAP added a full-fledged FM signal in the Metroplex when it took over the 93.3 FM signal, you could say that Collins stays busy.

“You have to develop a schedule and pay attention to one and do it for a certain amount of time, and then pay the other one the same attention,” Collins says of managing both brands. “And I’ve got some good backup guys that helped me watch it. When I’m over on one station, somebody will be the ears and eyes for me over. It works quite nicely, actually.”

It isn’t the first time he’s led stations simultaneously. Before joining Cumulus Dallas, Bruce Collins led 101 KXL, Freedom 970, and 750 The Game in Portland, while also leading network operations for syndicated hosts John Canzano and Lars Larson.

He joked that only having two stations in Dallas “was nothing to handle” compared to his old days at Alpha Media.

Trying to balance the best interests of both stations can be a tightrope walk. For instance, last month, a show shuffle of nationally syndicated programs took place between the two brands. Vince Coglianese moved from WBAP to KLIF 570 in middays, while Markley, van Camp & Robbins moved over to WBAP.

While Collins admits that ratings and revenue are the driving factors behind almost every decision when leading two separate brands, he says the shift went deeper than that.

“It was just a better fit for Vince over on KLIF, because he’s much more conservative,” Collins shared. “At WBAP, the thing that I did upon my arrival, I started moving it in a more lifestyle, whatever the hits of the day type talk. We haven’t abandoned politics. We’ll get into the politics. What we try to do is find a connection to our listeners and how it affects them. That’s the important thing. The listener, the customer, and how it affects them. And that’s what you have to concentrate on: how much we continue to serve the political aspect of our audience whenever it warrants.

“The other programming, we continue to try and be more general, mass appeal,” Collins continued. “And it works. I mean, it definitely worked. I saw this in one of the most progressive cities in America, and we were able to take that one to number one, and it stayed there for a real long time, and afforded me this opportunity, which I’m very grateful and blessed for.”

With WBAP on the FM band, the station has been able to attract a younger audience than it’s previous median as an AM-only brand. Collins said he’s seen “a lot of compliments from people, not only in the industry, but here in Dallas-Fort Worth, too” about the move.

Discovery remains an important aspect for the potential audience.

“More and more people are discovering that we’re new on the FM band. That will come with time,” Collins said. “Cumulus is being very patient in letting us get to where we need to be. I’ve got a great market manager in Dan Bennett, who truly believes in us and what we’re doing.”

“We knew that this process was going to be a marathon and not a sprint, and my managers all know that, and upper management of Cumulus know this. It’s a process, and we continue to make progress in it,” Collins later added.

He added that WBAP continues to draw in listeners from a variety of ways, and the presentation of WBAP has helped in that discovery.

“It’s not just from the news/talk world. There’s people discovering us from the music world too, that will go through the band,” he shared. “We’re real lively, and the pace is fast-paced, and it’s been a top 40 delivery as far as the news stories and the talk topics. It’s just real exciting radio.

“The news aspect of it is wonderful, being able to have a news team like I’ve got, and the experience,” he continued. “And then being able to also count on the talk shows to do a great job each and every day. It’s very entertaining. You forget that radio is entertainment more than anything else. It’s informative and aspects of entertainment.”

Collins said that both KLIF 570 and WBAP continue to make inroads with those in the 25-54 demographic. He added that the average listener to the stations is 59, which makes them “youngest news/talk station in town.”

“That’s awesome,” he concluded.

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.

Why News/Talk Radio Stations Should Embrace the Cable News Town Hall Model

Pete Mundo
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Why News/Talk Radio Stations Should Embrace the Cable News Town Hall Model

Town Hall season is here. But not for news/talk radio stations. It’s a cable news phenomenon.

On Wednesday night, I stumbled upon two Town Halls. Admittedly, after a long week, I thought it was Thursday.

When I realized there was no Thursday Night Football to watch, I found myself bouncing back and forth between CNN’s Town Hall with Bernie Sanders and Alexandria Ocasio-Cortez and NewsNation’s Town Hall with Bill O’Reilly, Stephen A. Smith, and Chris Cuomo, along with politicians from both sides of the aisle.

NewsNation’s production was superior in every sense: heavy-hitters anchoring, a better backdrop at the Kenny Center, and higher-quality guests, including White House border czar Tom Homan, former Sen. Joe Manchin (D-WV), Rep. Tim Burchett (R-TN), and Rep. Ro Khanna (D-CA). But setting those details aside, watching both Town Halls made me wonder if radio is missing opportunities to leverage events like this on a more local level.

Many of the great stations in our format have hosted local debates during election season, although admittedly, those are becoming more challenging with each passing cycle. Consultants often discourage candidates from debating or severely limit their participation, seeing more downside than upside. They may not be wrong: a big blunder goes viral on social media, while an eloquent, well-delivered answer rarely gets attention.

That’s where the Town Hall concept may be more appealing to elected officials, as they aren’t in election season, and even a misstep is less likely to hurt them at the ballot box. These can become sponsorable events, especially if the station brings together a broad range of voices and opinions that appeal across the aisle—just like NewsNation offered a better listen than watching Bernie Sanders repeat the same-old schtick that would make Karl Marx blush.

If resources require a scaled-back version of the Town Hall, an in-studio roundtable with listener-submitted questions via phone calls or texts can be effective. Bring in a variety of voices — but not too many, as multiple participants can be harder to follow on radio compared to TV — enough to make it compelling. Use callers and texters to encourage audience engagement, and you have a potentially winning formula.

As for the issues, that’s the easy part. Many major American cities are struggling with financial and crime problems. States are shifting further to the right or left with each passing cycle. Incorporating a federal government angle with local members of Congress can create a gold mine of content.

Any competent programmer would not only pre-promote the event to make the station feel “big” but also use clips and moments from the Town Hall or roundtable in the hours and days afterward in local programming. That is arguably the most valuable part. Cable news channels use this formula regularly — it showcases the work done while providing local hosts with content they can leverage immediately.

As we head into the home stretch of 2025, with vacations, busy schedules, and more on the horizon, look for opportunities like this as benchmarks for 2026. Especially in the first few months before midterm conversations pick up, events like these offer wins for your audience, your hosts, and your sales department.

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.

Chris Payne Keeps Reno Rocking With Passion and Purpose

Charese Fruge
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Chris Payne Keeps Reno Rocking With Passion and Purpose

After 36 years in radio, Chris Payne has seen just about everything the industry can throw at him. Somehow, he’s managed to keep spinning plates while keeping his passion alive.

Payne’s career began as a part-time board-op for a Top 40 show. It quickly evolved into overnights at a local Rock station. “That led to overnights with one of the rock stations in town,” he recalls. “Then I joined Z-Rock, a new Rock station at the time, and stayed there for five and a half years.”

From there, Payne’s career path took him across Reno and Sacramento, spending time at KRZQ, KDOT, and KRAT, often helping stations launch or relaunch along the way. “I moved back to Reno in 2004 to help a station get off the ground,” he says. “Fast forward through that and two more stints with KRZQ and a year and a half with KRAT, I was invited back to Lotus in June 2022. The following March, I was offered the PD gig. ‘Jane, stop the crazy thing!’” he laughs.

Today, as Program Director and Afternoon Host at Rock 104.5 KDOT Reno, and PD of KOZZ, Payne oversees a station built on authenticity, connection, and community, values that reflect both his leadership style and the character of the market.

“Reno is unlike other markets,” Payne says. “Our community is so tight that you’ll run into your favorite broadcast personalities at just about any event in town, no matter what’s happening. We’re unique in that we do our best to play nice in the sandbox with one another despite working for competing companies.”

That spirit of collaboration extends to how KDOT positions itself locally. “Rock 104.5 is very lifestyle driven. We want to be the soundtrack for whatever you’re doing — from car wash fundraisers to raising awareness for suicide prevention. If there’s a topic to tackle, we’re going to go all in.

For Payne, great programming always comes back to personality, something he feels radio needs to reinvest in. “Harvesting personalities is a big thing in my book,” he says. “When I wasn’t on the radio, I was always listening to see which stations had the most personality between their on-air talent and imaging.”

That philosophy led him to bring “The Dave & Mahoney Show” to Reno, a move he’d been waiting years to make. “I’ve been a fan of theirs for over a decade,” Payne says. “I followed their antics through social media and had a fellow programmer, Ross Mahoney, speak nothing but the gospel about them. The timing of finally getting them on in Reno couldn’t have been more ideal. The show they replaced had been with the station for almost 30 years, so it’s a transition, but I really hope our audience gives them the chance they deserve.”

As both PD and Afternoon Host, Payne’s days are packed, “VERY carefully,” he laughs. “I spin a lot of plates. Radio may be the main thing in my life, but I’m also an emcee for four local teams, a social media manager for several businesses, and a DJ for weddings, private events, and nonprofit fundraisers. When I’m not doing any of that, I’m usually traveling to Seattle, Chicago, or Buffalo.”

Even with all that, Payne still makes time to connect with his audience. “I want our listeners to know they have a voice with us. We don’t just give them carte blanche, but we make sure they know if we’re playing something they like or dislike, they can keep us in the loop.”

When prioritizing staying relevant and engaging, Payne is honest about the challenges stations face in building strong digital engagement. “Social media is our Achilles heel at the moment,” he admits. “It would be great to have an extra body in the building to help get more content out there and connect with the audience.”

Still, he believes engagement starts with being genuine. “If we want to attract the younger generation, we need to focus on personality. You have to be authentic while not allowing your ego to get in the way. The more we connect with the community, the more people want to engage with us.”

Payne’s focus heading into Q4 is on keeping things fun and local. “We’re currently running a promotion during the Dave & Mahoney show where listeners are waiting for a cue to be the 12th caller to win a daily giveaway of $104.50,” he says. “We’ll wrap up the quarter with lifestyle-driven events that keep us connected to our audience.”

That commitment to connection — both on-air and off — is what keeps Payne motivated. “Radio’s been a crazy ride,” he says with a grin. “But it’s still the best job in the world.”

Follow Chris Payne on FB – www.facebook.com/KDOTRENO, IG – @Rock104dot5, Twitter/X – @Rock_1045.

Hits on the Horizon: Alex Warren, Coco Jones, Tyler Nance, and Good Neighbours

Jim Ryan
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Hits on the Horizon: Alex Warren, Coco Jones, Tyler Nance, and Good Neighbours

Hits on the Horizon is halfway through the month of October, so what are the potential hits for this week?

Starting with the Top 40/Hot-AC category, Alex Warren w/ Jelly Roll’s “Bloodline” features two of today’s biggest stars. This song is catchy and has had my ears buzzing. Considering how this time of year does not present a lot of new choices, this one is not a miss at all! It had over 3 million streams during its first week. It’s worth your ears if you program Pop radio. Another to get your ears on is Corbin Besson ft./TZUYU’s “Blink”. As the lyric says “Don’t blink, you might miss it!”

Jumping into the Rhythm world, a really cool R&B track from Coco Jones w/ Alicia Keys “Other Side Of Love” has two great voices on a song with a cool vibe! If you want a fun song that the Coca Cola company may not love, check out Fallon’s “Diet Coke”. This lyric jumps out “All the girls standing in the line for the bathroom…she stop drinking Diet Coke, she on that coke diet”. It’s fun for sure!

From the Country world, I have a few for you. Tyler Nance’s “Keeps Me Sane” is a song with over 3 million streams this week. It is getting solid radio love from Kix 106 in Memphis! One more to listen to is Carter Faith’s “Betty”. It has about 1.4 million streams this week. 93 Q Country in Houston is showing some love to the song.

Finally in the Rock world, Good Neighbours’ “People Need People” has good potential especially for Alternative radio. It’s a good sounding record, though there is no streaming story yet and very little radio support. One final one is Gatlin’s “Florida Man”. It’s catchy with a good hook and is getting some radio love from KTBG in Kansas City.

There you go, a little lighter this week but the choices are slimmer as we creep closer to the holidays. Happy Listening!

What Podcast Ad Revenue Projections Mean for the Future of News Podcasts

Garrett Searight
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What Podcast Ad Revenue Projections Mean for the Future of News Podcasts

Podcast ad revenue is on a tear, expected to reach nearly $4 billion by 2029, according to eMarketer. That’s part of a much larger digital audio ecosystem, forecast to climb to almost $10 billion in the same timeframe.

Yet even as money flows into the medium, one of the biggest formats—the news podcast—is still battling an uphill perception problem. Advertisers remain hesitant to place their messages alongside shows that tackle controversial topics. The content is often deemed inflammatory or polarizing, and that scares away some brands.

Here’s the thing: that perception is only half the story.

News podcasts are some of the most widely consumed and passionately followed shows in the game. They reach millions of listeners every week, from coast to coast, who tune in not just for updates but for deep dives, analysis, and context they can’t get elsewhere. The audiences are engaged, loyal, and, yes, opinionated — but that should be a selling point, not a liability. Marketers looking for reach and impact should pound that table.

Advertisers love metrics, and news podcasts deliver. High retention rates, dedicated listenership, and long-form content mean that when a brand message lands, it lands hard. Listeners hear it. They respond to it. They act on it. And in an era where attention is currency, few mediums offer the same level of concentrated audience engagement.

A listener isn’t just scrolling past a display ad or skipping a commercial. They’re sitting down with headphones on, fully immersed, often for 30 to 90 minutes at a stretch. That’s premium attention.

Yet somehow, that doesn’t always translate to dollars in the news podcast space. Some advertisers still equate divisive content with risk. They worry about their commercials accompanying backlash or controversy. And yes, news podcasts often tackle hot-button topics that spark debate. But they also create dialogue, community, and trust with their audience. A consumer who follows a show closely trusts the host, values their perspective, and is far more likely to absorb the messaging presented in a native ad read. That’s advertising gold.

Podcasting’s broader trajectory shows no signs of slowing. Emarketer’s forecast puts overall podcast advertising near $4 billion by 2029, with digital audio advertising as a whole reaching nearly $10 billion. That kind of growth signals opportunity. And for news podcasts, it represents a chance to reframe the narrative: advertisers should see past the “divisive” label and recognize the power of connecting with a large, passionate, and loyal audience.

In fact, ignoring news podcasts now is a missed opportunity. As the market matures, advertisers that shy away from high-engagement formats risk ceding influence to competitors willing to embrace them. These shows shape conversation, spark debate, and create communities around ideas. That influence is measurable, trackable, and immensely valuable to brands looking to make a mark.

News podcasts are also uniquely positioned to provide advertisers with precision. With advanced audience targeting and analytics, brands can reach listeners based on demographics, location, and interests. You can deliver your message to the right person, at the right time, in the right context. That’s the promise of digital audio, and news podcasts sit squarely at the center of it.

At the end of the day, the conversation about “risk” versus “opportunity” is where news podcasts shine. Yes, the content can be fiery, challenging, or even controversial. But that same fire fuels engagement. It keeps listeners coming back. It makes ads stick. And in a crowded, noisy media environment, that kind of attention is priceless.

If marketers truly want to dominate in digital audio, they can’t ignore the format driving some of the largest audiences in podcasting. Loyal, engaged, and passionate listeners are not a side effect—they are the product. And news podcasts deliver that product better than almost any other genre.

The numbers don’t lie. Podcast ad revenue is growing. Digital audio spending is skyrocketing. News podcasts are already among the biggest formats in the game. It’s time for advertisers to stop letting perception hold them back and start embracing the audiences that matter most.

The message is simple: these shows are divisive, yes, but their audiences are too powerful to ignore. Pound that table.

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Tim Legler: Elevation To Top Broadcast Team at ESPN Was Culmination of Everything I Put Into the Work

BSM Staff
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Tim Legler: Elevation To Top Broadcast Team at ESPN Was Culmination of Everything I Put Into the Work

ESPN NBA analyst Tim Legler is stepping into the network’s top NBA broadcast team, joining Mike Breen and Richard Jefferson for the 2025-26 season. The veteran analyst, who has spent more than two decades with ESPN, described the promotion as both unexpected and deeply gratifying. In an interview with The Athletic, Legler recalled how he learned the news — a moment that began as a normal day and turned into a career milestone.

“I got the call from Tim Corrigan, where I got the information from,” Legler said. “I was going about my normal business like I was every year, just paying attention to the league and keeping up with who went where, coaching changes, player changes, rookies, injuries — my daily stuff, just preparing for the season, not knowing how any of it was going to ultimately play out.”

Legler said he was aware of discussions at ESPN regarding the future of the network’s top broadcast crew, which saw Doris Burke replaced earlier this year. But the longtime analyst had learned not to assume anything.

“You’re hoping your name is in the mix,” he continued. “But I’d come to the point, after all these years of being there, that you’re preparing yourself for if you don’t get that call, or if you don’t get that news, how your season is going to go. So I was just ready to go either way.”

That readiness turned to elation when the phone rang.

“When that phone call came in and I looked down, I saw Tim was calling me, and you’re kind of like wondering, okay, what’s this going to be?” Legler said. “It ended up being, obviously, very good news for me and my family. We were very happy.”

For Legler, the timing and setting of the call made the moment even more special.

“We were just by ourselves with our son on the beach, actually, in New Jersey, and the call came in,” he said. “What went through me was just the reward of the work I’ve put in. To feel so grateful, first of all, that I’m going to get the opportunity, but also validated for the amount of work that I put into this.”

Legler emphasized that his approach to preparation and professionalism never wavered, even during the years when he remained outside ESPN’s top team.

“I never lowered my standard over the years, even if I got frustrated at times,” he said. “Everything stayed the same because I had a lot of pride in what I was doing. Getting that call was the culmination of all that — the ups and downs over the course of all these years at ESPN.”

As the upcoming season approaches, Legler said his focus now turns to what comes next.

“It’s incredibly gratifying, rewarding, and exciting,” he said. “More than anything else, I’m just excited about the opportunity to work with Mike and Richard, and I can’t wait to get going.”

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.

Spotify Partners with Music Publishers to Develop Artist-First AI Products

BNM Staff
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Spotify Partners with Music Publishers to Develop Artist-First AI Products

Spotify is joining forces with some of the biggest names in music to ensure artificial intelligence helps — not hurts — artists and songwriters.

The company announced a new collaboration with Sony Music Group, Universal Music Group, Warner Music Group, Merlin, and Believe to develop AI products that protect creativity while driving innovation.

The partnership aims to create technology that strengthens artist-fan relationships and generates new revenue opportunities, rather than replacing human artistry. Spotify said it hopes to bring more music rightsholders and distributors into the effort over time.

“Technology should always serve artists, not the other way around,” said Spotify Co-President and Chief Business Officer Alex Norström. “Our focus at Spotify is making sure innovation supports artists by protecting their rights, respecting their creative choices, and creating new ways for fans to discover and enjoy the music they love.”

“AI is the most consequential technology shift since the smartphone, and it’s already reshaping how music is created and experienced,” added co-President and Chief Product and Technology Officer Gustav Söderström. “At Spotify, we want to build this future hand in hand with the music industry, guided by clear principles and deep respect for creators, just as we did in the days of piracy. Our company brings deep research expertise to this opportunity and we’re actively growing our AI team and capabilities to drive the continued growth of the entire music ecosystem.”

The streaming giant outlined four principles guiding its AI strategy: working with labels and publishers through upfront agreements, giving artists the choice to participate, ensuring fair compensation for creative contributions, and using AI to enhance fan connections.

Spotify already uses AI to personalize listening experiences with tools like its AI DJ, daylist, and AI Playlist. The company says these features help fans discover new artists rather than compete with them.

To support this initiative, Spotify is building a new generative AI research lab and product team. The lab will focus on developing technologies that align with the company’s responsible innovation goals while collaborating with artists, songwriters, and producers.

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.

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