Hillary Clinton is launching a new podcast with Kara Swisher focused on the 2026 midterm elections. The show, High Stakes, will examine the political contests shaping the country’s future.
What We Know: Clinton and Swisher will host High Stakes through Vox Media, which also handles sales and distribution for Pivot and On with Kara Swisher. The new podcast will focus on the 2026 midterm elections, placing Clinton’s political experience alongside Swisher’s technology and media expertise. Clinton served as a U.S. senator from New York and secretary of state before becoming the Democratic presidential nominee in 2016. Swisher is a longtime technology journalist who co-hosts Pivot with Scott Galloway. The news was first reported by Ben Mullin of The New York Times, and Clinton’s comments came from his interview with her.
What They Said: “I don’t think the stakes for the country and the world could be any higher. If we don’t reverse this chaos and corruption and cruelty that is being visited upon us by this administration, we won’t recognize our country.” -Hillary Clinton
What Remains Unclear: The initial announcement did not specify the podcast’s premiere date, release schedule, episode length or distribution platforms. It also remains unclear whether Clinton and Swisher will feature recurring guests or focus primarily on interviews and political analysis.
What It Means: The launch gives Vox Media another political podcast ahead of a consequential midterm election cycle. Clinton brings firsthand experience in national politics, while Swisher offers an established platform covering technology, business, and public affairs. Their partnership could attract listeners interested in Democratic politics and the broader national debate. However, the show’s reach will depend on its format, promotion, and ability to distinguish itself in an increasingly crowded political podcast market.
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Cumulus Media has promoted Kathy “KB” Brown to VP/Urban Formats. The move, effective immediately, gives her a national role across 40 Urban stations.
What We Know: Brown will oversee programming across four formats: Urban Mainstream, Urban AC, Classic Hip Hop, and Gospel. She joined Cumulus in 2017 and works out of Charleston, SC. There, she serves as Program Director and on-air talent for Z93 JAMZ/WWWZ-FM and Magic 107.3/WMGL-FM. Importantly, she will keep both of those roles.
What They Said: Brian Philips, Chief Programming Officer, Cumulus: “By virtue of her veteran major-market leadership skills and perennial high achievement, KB became the clear choice of both our programming leaders and her peers in the Cumulus Urban fleet. Kathy already wears much programming responsibility gracefully and successfully in her Charleston role and in the region. This confirms our trust in her proven steady guidance and her stellar reputation within Cumulus.”
Kathy Brown: “I am excited to join the Cumulus senior content leadership team. I am fortunate to support a stellar group of Urban programmers who oversee legendary stations. We will continue our legacy of excellence.”
What Remains Unclear: The release did not explain how Brown will balance national duties with her Charleston workload. The release also offered no word on additional support staff for her local stations.
What It Means: Cumulus is leaning on a proven major-market programmer. Before Cumulus, Brown led iHeartMedia Urban stations KMJM-FM and KATZ-FM in St. Louis. Earlier, she ran Radio One’s seven-station Washington-Baltimore cluster and served as APD at Atlanta’s V103. As a result, the company’s Urban fleet gains a national leader with deep format roots.
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Rakuten TV is expanding its enterprise FAST (Free Ad-supported Streaming TV) services into the U.S., the Middle East, and Japan. Notably, the move marks the first time the company’s Enterprise division has operated beyond Europe. The streaming unit operates out of Barcelona. Meanwhile, its parent company, Rakuten Group, Inc., operates from Tokyo.
What We Know: CEO Cédric Dufour shared the news in Cannes, France, at MIPCOM (Marché International des Programmes de Communication). The event is the world’s largest annual marketplace for the television and entertainment industry. Rakuten TV Enterprise first launched at MIPCOM 2024. Since then, it has helped partners launch, manage, and monetize FAST channels and video apps. To do so, it provides end-to-end technical, content, and ad services. Beyond its B2B (Business to Business) division, Rakuten TV also operates over 120 of its own FAST channels across Europe. For content, it partners with major Hollywood studios and local broadcasters. Currently, TCLtv+ is the only named partner carrying Rakuten TV’s FAST channels in North America. However, the company expects additional platform rollouts later.
What They Said: “Expanding Rakuten TV … through our enterprise offerings marks a significant new chapter for the business, as we bring our streaming expertise, technology and infrastructure to new markets around the world.” – CEO Cédric Dufour on international expansion
“This expansion represents only the beginning of what we can achieve with Rakuten TV Enterprise. Our experience gives us a strong foundation to help partners navigate the fast-moving streaming landscape and unlock new opportunities in FAST. As we enter more markets, our focus will be on combining that expertise together with a deep understanding of local audiences to build propositions that deliver real value for our partners.” – CEO Cédric Dufour on adapting to local markets
What Remains Unclear: Rakuten did not disclose deal values, financial metrics, or revenue targets. Likewise, the company has not shared rollout schedules or exact launch dates for each region. Beyond TCLtv+ in the U.S., partners in Japan and the Middle East remain unannounced. Additionally, it’s unclear whether Rakuten TV will launch its direct-to-consumer app in these markets. Alternatively, it may operate strictly as a B2B enterprise service provider.
What It Means: Overall, FAST is evolving from a U.S. trend into a global standard. Increasingly, viewers worldwide want free alternatives as paid streaming fatigue sets in. At the same time, streaming platforms are shifting from pure consumer destinations into backend service providers. In other words, they now power channels and technology for other media companies.
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98.5 The Sports Hub has been one of the industry’s best success stories over the last quarter-century. Since launching in 2009, the Boston-based sports radio brand has built a reputation for its powerful FM presence, unique personalities and ratings success few markets have matched. For the entire length of the station’s legacy, Fred Toucher has been its morning voice, setting the day’s agenda with a variety of discussions ranging from sports to satire, with a layer of sarcasm mixed into the morning formula.
In a market built on passionate sports fans, Toucher is not a true native. Hailing from Detroit, Toucher didn’t grow up listening to the radio. Instead, his earliest media influences came from watching Howard Stern on television. He enjoyed content that went against the grain and challenged the norms of what the format presented. It’s in that spirit that Toucher has approached his work at The Sports Hub through a different lens: authenticity over the traditional norms of sports talk radio.
“I don’t know how you can be in radio and have any type of ego. I’ve never been treated well, gotten anything for free, or been friends with anyone famous. I don’t know how people can get arrogant in this job. It’s a job,” explained Toucher. “Anything that’s lasts in culture, there needs to be an authenticity to it. If you are authentic and not a terrible person, that will generate long-term success.”
Building A Beast In Boston
Success has been the foundation of Toucher’s time in mornings at The Sports Hub. According to the latest spring book, Toucher and Hardy finished with a 16.1 share in the key demo of men 25-54. That finished 10 full ratings points ahead of the direct competition at WEEI. The show’s ratings success is not an outlier. In fact, it’s become the standard for the market in recent years.
While it’s hard to pinpoint exactly what continues to drive the listening audience to the program, Toucher leans on the authentic approach the show aims for. The hosts aren’t experts. You want film study? The program won’t act like they watch the All-22. Another element Toucher says aids in the ratings success is that it’s the lone program among the major dayparts that doesn’t have a television simulcast.
“We were simulcast for a bit but pulled ourselves off because of how it could have affected the ratings. I don’t think that was smart in hindsight, because we gave up a check we were making,” said Toucher. “But the benefit of it now is we are able to put ourselves on platforms that may be more advantageous for us. By making a non-wise financial decision, we stumbled into the right thing to do because of all the different ways people consume media.”
Because of sports radio’s popularity in the market, local media continues to cover the medium as a top priority. Stories about ratings battles, talent feuds, and personality profiles are still part of the daily zeitgeist. That coverage reflects the format’s success and legacy in Boston. Toucher credits that attention as one reason radio remains healthy in the market. In other markets, outlets have cut staff or shifted priorities because of budget constraints.
Toucher’s approach to content has never changed. It’s authentic in nature, and he doesn’t shy away from sharing himself with the audience.
“The advantage of being on for a long time is people feel they know you if you choose to share yourself with them. If you choose not to do that, then you’re doing yourself a disservice. That prevents that special relationship between you and the audience,” notes Toucher.
While Boston sports fans share a long, passionate history with their teams, Toucher refuses to play a character on the air or pretend to be something he isn’t. He says he doesn’t take talking points on every game and prefers his analysis to be more big-picture than focused on analytics and scheme. Instead, he leans on experts to join the program as guests rather than presenting himself as one.
“The way I think a lot of popular broadcasting is today is going to be short-lived. Everything is being done as a wrestling promo. There’s an air of drama and fakeness about it. That’s great right now, but that doesn’t last,” said Toucher. “I’m not an expert. I don’t break down the All-22. I share things in my life because people relate to that. What’s popular today is like hair metal. It won’t last.”
Navigating Personal, Industry Change
Nearly three years ago, after a long run of success as Boston’s top morning show, a change was made to the lineup. After taking a leave of absence to deal with career-threatening throat problems, Toucher signed an extension to remain with The Sports Hub for years to come. However, his 17-year relationship with Rich Shertenlieb on the Sports Hub came to a close when Shertenlieb departed the station.
A month after Shertenlieb’s departure, Rob “Hardy” Poole was named the new co-host of the longstanding morning program.
“I knew Hardy for a long time. He’s a real radio guy. Good on the air and has the same sensibilities that I do. I needed someone who was good at production, and I feel like I have a natural flow with him,” says Toucher. “It’s a more equal on-air relationship and not assigned roles.”
For the last three years, Toucher has credited the chemistry he and Hardy share on and off the air as the foundation for the show’s continued success.
“At this stage in my career, that’s extraordinarily important for me. It’s a quality-of-life issue. I want to go into the station and enjoy doing the show with the person I’m with. I didn’t realize how much that mattered,” explained Toucher. “It’s been a lot of fun in a job that I’ve been doing for a long time. It can get tedious at times, but it’s been a great gift to have this change. It reinvigorated me in a lot of ways.”
Over his nearly three decades in radio, Toucher has witnessed the industry change firsthand in many ways. The allure of appointment radio has given way to a growing on-demand culture, with podcasts continuing to chip away at the power radio once had. Despite his frequent criticisms of podcasts, Toucher doesn’t consider himself anti-podcast.
While he admits podcasting has capabilities that radio simply cannot provide, what draws his ire is the interview-style version of podcasting.
“It’s like everyone got a microphone and they’re just going to interview people. That’s boring and requires no creativity. You’re not playing with the format nor doing anything interesting,” said Toucher. “It seems like everything is doing the same f**king thing, and only five guys are truly good at it.”
The one element Toucher says radio must do a better job of explaining to advertisers is the intimacy radio provides that podcasts simply cannot.
“Netflix wants live programming more than anything else. To advertisers, having ears on something as it’s happening live at the same time is an incredibly valuable return on investment,” said Toucher. “You’re on the air 20 hours a week. That creates a connection that taped and edited content simply can’t replicate. People on the radio are the most trusted people who can advertise a product because of that intimacy they develop with the audience.”
That connection with the audience is a large reason why Toucher refuses to use artificial intelligence in any way for his program.
“The minute you start using AI in any way, you lose authenticity,” says Toucher. “The whole reason for radio is the humanity part of it. The good and bad. That all goes out the window with AI. I see no reason at all to use it in any way right now.”
A Better Tomorrow
For nearly three decades, Fred Toucher has watched radio evolve from appointment listening into a medium competing for attention across an increasingly crowded landscape. Yet the philosophy guiding him through that evolution remains remarkably simple. Be yourself, be human, and give the audience a reason to want to spend time with you.
As technology continues to reshape how broadcasters create, distribute and deliver content, Toucher believes broadcasters still have one valuable advantage. It is the one thing technology cannot replicate.
A real relationship. One fortified through success and struggle, and strengthened by coming out the other end with a newfound appreciation for the opportunity to continue engaging with the listening audience.
“Everything that’s happened since dealing with some personal issues has been much better. I had to change a lot of things about myself for that to happen. But if you’re willing to change things about yourself and make yourself a better person, then that’s going to manifest better things for you in your personal and professional life,” said Toucher.
The ratings in Boston suggest Toucher & Hardy’s approach continues to resonate. Their success isn’t built on pretending to know everything or following whatever trend happens to be popular. It’s built on two people showing up, being themselves, and inviting listeners into the conversation.
For Toucher, that’s what radio has always been about. And after nearly 30 years behind the microphone, he has little interest in changing the formula that made him successful in the first place.
In an industry constantly searching for what’s next, perhaps there’s something to be said for remembering what made radio matter in the first place.
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580 WCHS morning host Chris Lawrence is nominated for Small Market Personality of the Year at the 2026 NAB Marconi Radio Awards. It’s his second nomination for the award, after a first in 2024.
Lawrence is also the lone news/talk radio host nominated in the Major, Large, Medium, and Small Market categories.
Still, the news caught him off guard. In a recent conversation, he shared why the nomination means so much.
Humbled by the Nomination
Disbelief was Lawrence’s first reaction to the nomination.
“I was really shocked, to tell you the truth,” Lawrence said. “Anytime I get nominated for anything, it’s shocking, because I just feel like there are so many more people out there, and there’s so much talent, particularly in that pool of people. It’s really humbling to see your name with all those other people across the country.”
Notably, this isn’t his first nomination. He earned his initial nod in 2024, which surprised him just as much. At the time, he assumed news/talk hosts weren’t eligible.
“I got nominated two years ago, and that was really surprising because I didn’t realize that somebody in news/talk could be a Personality of the Year nominee,” shared Lawrence. “I was always under the impression that it was a DJ area, a music guy, something like that. I didn’t realize that news/talk people could be nominees.
“But I didn’t let that discourage me. I thought, ‘Well, let’s put it in there and see what happens.’ And lo and behold, I got nominated. Actually, that was the first year I had put my name in, so I was really floored then. I put it in again last year, and I didn’t get nominated, and then I put it in again this year, and I thought, holy cow. I’ve been nominated twice in three years, which is pretty cool.”
Carrying the News/Talk Banner
Meanwhile, Lawrence learned about his distinction from a trade magazine article. The revelation surprised him.
“I’m carrying a pretty big banner there, aren’t I?” said the 580 WCHS morning show host. “Pretty heavy burden for everybody in the talk industry. I didn’t realize that until somebody sent me an article that mentioned it, and I was shocked because there are so many people — from nationally syndicated hosts down to guys that do what I do every week — who have a news/talk platform and are so good at what they do. I was really surprised to hear that I was the only one. It makes me think I must be doing something right if I was able to still be nominated and nobody else in this particular genre was. It feels pretty good, and I appreciate the recognition.”
As for what set him apart, Lawrence points to variety. His employer lets him try new things, and he’s taken full advantage.
“They allowed me to create West Virginia Outdoors, which is a hunting and fishing radio show, and I do it every Saturday morning and have done it since 1993,” Lawrence said. “They allowed me to do high school football. I’m the host of the West Virginia Morning News. I get to do a lot of different things. I do remotes for the radio station. When they’ve got an event going on, I’ll go out and broadcast live from there.”
What He Might Say at the Podium
Even so, Lawrence isn’t preparing an acceptance speech. Instead, he’d rather speak from the heart if he wins.
“I find that I do a lot better if I haven’t prepared something, because in many ways it’s more from the heart to do it that way,” said the 580 WCHS morning show host. “If I were to win this, it certainly would be from the heart, because when I was a kid, my dad was from the World War II generation, and he taught me the love of radio.”
Eventually, his thoughts turned to the listeners he hopes to inspire.
“I just hope that maybe somebody in the upstairs bedroom of a farmhouse here in West Virginia listens to the stuff I do and is inspired to someday want to be on the radio themselves, because that certainly was what drove me to do it and created the love of radio,” shared Lawrence. “Man, this is all I’ve ever wanted to do, and I’ve gotten to live the dream for 36 years, doing exactly what I envisioned myself doing when I was 10 years old, lying in bed upstairs in a farmhouse in rural Virginia. Maybe that’s my acceptance speech right there.”
If he doesn’t win, Lawrence still plans to enjoy the moment.
“Even if I don’t, it’ll be all right, because just being nominated is awfully honorable,” Lawrence said. “I appreciate the fact that they even thought about me.”
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Too often today, we forget about broadcasting’s rich history and how much America’s legendary radio stations have meant over the years. There are certain call letters that really are iconic. Many have been forgotten amid the various changes in ownership. There was a time when your career goal was to work for one of those “network owned and operated” stations. I love when those stations acknowledge their history. Small things like KROQ claiming “world famous.” Or B-96 (WBBM-FM) in Chicago using the word “legendary” in their imaging.
WCBS-FM in New York just hired a new morning show, and I loved seeing Loren Raye use that word in the press release as she teamed with Trey Morgan. As a native of the area, she understood the history of those call letters. For years, 101.1 was the frequency where all the great talent ended their careers. Harry Harrison did mornings on WABC when it was the market’s dominant station. He moved to WCBS-FM in 1980 and did mornings there for over two decades. Other WABC alums — Cousin Brucie Morrow, Ron Lundy and Dan Ingram — all made the migration. It was the logical career transition.
A Detour, Then a Homecoming
Some would say the station did not evolve musically enough, and WLTW popped to the top of the New York ratings rankers in the late ’90s and early 2000s. In an effort to get noticed, the company made a short-lived move to make Monkee Mickey Dolenz the morning man before abandoning classic hits altogether. They then spent a few years as a Jack station.
Shortly after Dan Mason took over CBS Radio, he brought the classic hits format back on July 12, 2007. The radio world was healed, and all was good again. Dan understood the power of talent, and he assembled a great lineup for the launch, including future Hall of Famer Broadway Bill Lee. Under Dan’s leadership, revered talent Scott Shannon joined WCBS-FM in 2014. Dan Taylor moved from mornings to middays. While I was program director in title, all I really needed to do was schedule a good music log and let the talent do their thing. And maybe let Broadway Bill know when he crossed the line with content. The station had a vibe and was a fun listen, which is what a personality-driven classic hits station should be.
A New Morning Team With Z100 Roots
Current brand manager John Foxx faced a dilemma as he searched for a new morning show for WCBS-FM. Elvis Duran was not available. But he found a pair who worked in that Z100 studio. While Loren Raye got her start on Elvis’s show, Trey Morgan worked the opposite end of the day at Z100. His morning radio experience came in Dallas after he left afternoons at WNEW. While that was happening, Loren was the lone Yankees fan in Boston, doing mornings with the now-syndicated TJ on Amp.
As someone who has worked with both of them, I know they understand the gravity of the station and the time period they now host from the Scott Shannon studio. It helps to see his name every morning when they walk in. Create the future by drawing from the greatness of the past. And if you’ve got a heritage, claim it.
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Call me old-fashioned, but isn’t the point of buying a premium product to receive a premium experience? For instance, I subscribe to SiriusXM because I enjoy listening to my favorite metal tracks from the 1980s without commercial interruptions. I pay for ESPN Unlimited because I enjoy watching WWE premium live events. The same reasoning should apply to those who purchase NFL Sunday Ticket through YouTube TV. Pick what you want to watch and when you want to watch it.
However, a growing problem with NFL Sunday Ticket involves the league’s “bonus coverage” during the early Sunday afternoon slate. Sunday was just the latest example. As the New York Giants and Washington Commanders went to overtime, FOX Sports continued showing their game as bonus coverage instead of providing access to the Seattle Seahawks and San Francisco 49ers divisional showdown.
I don’t subscribe to NFL Sunday Ticket. The $240 price tag for new subscribers is a little steep for my taste. Returning subscribers, meanwhile, face a $480 price tag for the season. I can’t imagine that’s an easy pill to swallow for many fans. But when you charge a premium price, you should deliver a premium experience, one that cable and satellite subscribers without Sunday Ticket cannot replicate.
Yet Sunday’s 49ers-Seahawks matchup was blacked out for some subscribers. Not because the game was being shown locally, but because the Giants and Commanders were playing overtime. In fact, because New York and Washington finished in a tie, Sunday Ticket subscribers missed the first 10 minutes of the 49ers-Seahawks game. Not just live, but even on demand.
So why is bonus coverage mandatory for Sunday Ticket subscribers?
Deliver On The Promise
The NFL has long marketed itself as a fan-first league. Sunday Ticket is sold as a way for fans to watch their favorite teams play on Sunday afternoons, regardless of where they live outside the home markets. If subscribers pay for access to out-of-market games, shouldn’t they be able to watch those games when they kick off?
Shouldn’t this be an easy fix?
I paid for NFL Sunday Ticket, and the Seahawks 49ers game is blocked for some reason. I turn on FOX where it’s supposed to be and I’m instead trapped in “bonus coverage” of NYG-WAS. Great system!
Consider, too, that the NFL promotes the availability of its games on free, over-the-air television. This past Thursday, I was able to watch the Tampa Bay Buccaneers take on the Dallas Cowboys. The game aired on my local FOX affiliate without a Prime Video subscription. If I lived outside the local broadcast market, however, I wouldn’t nor shouldn’t expect to watch that same game. Why? Because I didn’t pay for Prime Video.
Sunday Ticket is different. It’s marketed and sold as a premium product, yet the viewing experience can prevent subscribers from watching the very games they’re paying to access. That’s a problem for fans, but it’s also a problem for the NFL. It adds to the frustration surrounding how the league distributes its games. Especially at a time when its antitrust protections under the Sports Broadcasting Act of 1961 face broader scrutiny.
The NFL cannot continue to market a product, charge a premium price and fail to deliver the access subscribers expect. Here’s a potential solution.
Instead of withholding a game’s live feed while another matchup receives bonus coverage, why not make the feeds available to Sunday Ticket subscribers as the games unfold? The league and its distribution partners could work out a system that allows subscribers to watch the scheduled game. Meanwhile, preserving existing local broadcast protections.
Hey @YouTubeTV@nfl let me watch the Niner game!! I pay for Sunday Ticket!!! The game is not on my local network. Local Fox is showing NYG V Wash pic.twitter.com/0YPFKAXmoP
Consider what happened Sunday. Because of bonus coverage, viewers who did watch the 49ers-Seahawks game from the beginning saw nearly 10 minutes of commercial-free football during the first quarter. Advertisers still had their scheduled opportunities to reach the national audience once the broadcast returned to the game.
If the network can provide the game feed without interrupting its existing coverage, the NFL and YouTube TV should explore how to make that feed available to subscribers who paid for it.
This seems like a logical place to start. Advertisers retain their scheduled commercial inventory, subscribers receive the access they purchased. Plus, the NFL takes a meaningful step toward addressing the concerns that accompany its exclusive distribution arrangements.
Avoiding Congress
It also raises a broader question: Should federal regulators take a closer look at how the NFL’s broadcast arrangements affect consumers who pay for access to games that are otherwise available over the air? That question deserves consideration, even if the legal and regulatory issues require more examination.
The NFL has built its business by giving fans access to the teams and players they love. Sunday Ticket is supposed to take that commitment a step further by allowing subscribers to watch out-of-market games they otherwise couldn’t see. Yet when a paying customer misses the opening minutes of a divisional showdown because another game goes into overtime, the league falls short of the experience it promises.
This isn’t a problem that should require years of negotiations, a congressional hearing or a federal investigation to resolve. The NFL has the technology, the distribution partners and the resources to find a solution. It simply needs to prioritize the customer experience over a broadcast practice that no longer makes sense in a streaming environment.
"Bonus coverage" is anything but a bonus for people who have paid for Sunday Ticket, when it keeps them from seeing a significant 4:25 p.m. ET game from the opening kickoff. pic.twitter.com/Vruk0M8KKi
Fans shouldn’t have to choose between accepting a blackout and hoping their favorite team’s game doesn’t compete with an overtime finish somewhere else. They paid for access, and they should receive it.
The NFL can do better, and it should do better immediately. Anything less is a disservice to the fans who continue to invest their time and money in the league.
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Sometimes the simplest ideas are the most effective.
Jack White played Fontainebleau Las Vegas on October 2, and the show poster doubled as a playable board game. Not an app. Not an NFT. Instead, it was an actual 18-by-24-inch game board. It also came with a 52-card deck, six wooden playing pieces, a custom wooden die, and a rulebook. Afterward, the venue even hosted a game night.
All 350 copies at the show sold out immediately. Now, they’re on eBay for double the $150 price.
It was unexpected. It was creative. And it gave fans something to do with the music besides just listen to it.
It also got me thinking. Have we become so focused on getting people to hear music that we’ve forgotten how to make them care about it?
Upload, Run Some Ads, and Hope
For some artists, the marketing plan begins and ends with uploading a song to Spotify. Meanwhile, others run a Meta campaign and hope somebody wanders into the room.
To be fair, there have never been more pathways to discovery. Streaming, playlists, social media, influencers, and digital advertising all matter.
But those are mostly mechanisms for putting music in front of people. The harder question is what happens next. In other words, are we developing fans, or just collecting streams?
We’ve become incredibly good at getting music heard. However, we haven’t gotten nearly as good at turning those listeners into fans.
A Listener Isn’t Necessarily a Fan
Spotify’s own numbers make the point. On average, super listeners make up just 2% of an artist’s monthly listeners, according to Spotify for Artists’ research. Yet they drive more than 18% of monthly streams.
It gets better. Super listeners are nine times more likely to share music with their network. Plus, they account for half of an artist’s ticket sales through Spotify.
Those are Spotify’s averages, based on its own definition of a super listener. Still, the lesson applies well beyond one platform. After all, a small group of people who genuinely care can matter more than a big crowd that barely notices.
Think of it as a ladder. First, someone hears a song. Then they save it or follow the artist. Next, they buy a ticket or a T-shirt and tell a friend. Eventually, they’re invested in the artist’s world.
Spotify can measure how often someone listens. The tougher question, however, is how we measure — and build — how much someone cares.
Creativity Beats Budget
Jack White’s board game is a reminder that a clever idea can accomplish what a big ad buy can’t. Sure, he has resources most developing artists don’t. But the principle scales down.
For example, create a scavenger hunt around the lyrics from a new release. Hide signed merch or concert tickets at local businesses. Host a secret acoustic show for fans who solve a puzzle. Let fans vote on the artwork for the next single. Or turn a song’s storyline into a game.
None of that requires an enormous budget. In fact, some of it barely requires time. Instead, it requires imagination, a little planning, and a willingness to try something different.
Give Fans Something Worth Talking About
The goal isn’t another promotional gimmick. Rather, it’s an authentic experience that strengthens the bond between artist and audience.
And here’s the bonus. White’s board game isn’t just merchandise — it’s a conversation starter. Fans post pictures, talk about game night, and introduce their friends to the music. As a result, the experience becomes part of the marketing.
That ties right back to Spotify’s data. If your most invested listeners are nine times more likely to share, give them something worth sharing.
Maybe the question isn’t how to get another million people to hear your music. Instead, maybe it’s how to get a thousand people to care enough to tell somebody else about it.
Radio Could Learn Something Here, Too
This isn’t only a music industry lesson. After all, radio has spent decades selling the size of its audience — cume, reach, and frequency. Big numbers on a one-sheet.
But advertisers aren’t just buying ears anymore. Instead, they’re buying action. They want to know who showed up, who clicked, and who bought. In other words, it’s not about the masses. It’s about an actionable audience.
That’s the same lesson hiding in Spotify’s data. Two percent of listeners driving half of an artist’s Spotify ticket sales isn’t a reach story. Rather, it’s a quality story.
Give Loyal Listeners a Reason to Participate
Radio has always had its own super listeners. They’re the P1s who know every jock by name and would drive across town for a station event. Better yet, those are the same people who respond to an advertiser’s offer.
Radio used to excel at creating experiences for them. Secret shows, artist appearances, oddball promotions, and stunts people talked about for years. In fact, I’ve watched one clever stunt land a station on the front page of the local paper. Even today, some stations still do this exceptionally well.
The fix isn’t necessarily more money or another technology platform. Instead, give your most loyal listeners a reason to participate, and you’re not just building loyalty. You’re building the actionable audience advertisers are paying for.
Sometimes radio just needs a better idea.
Stop Chasing Streams. Start Building Fans.
Jack White didn’t reinvent music marketing. Instead, he simply reminded us that music is supposed to be fun, interactive, and personal.
So keep uploading to Spotify. Keep running your Meta campaigns. And keep exploring new ways to reach audiences.
Just don’t confuse exposure with engagement — or engagement with loyalty.
We’ve spent the last 20 years perfecting how we deliver music. Now, maybe it’s time we put some of that creativity back into how people experience it.
Because a stream lasts a few minutes. But a fan can last a lifetime.
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Podcasts have a new competitor, and it doesn’t need a microphone. According to Listen Notes, 29% of all new podcasts launched in the third quarter were generated by AI. That’s a number the audio industry can’t afford to ignore, and it deserves a closer look.
Listen Notes tracks the number of active podcasts and whether humans or AI create them. Its data shows more than 550,000 podcasts have been active in 2026. During the third quarter, 29% of the new shows came from AI. Put simply, machines now produce nearly three of every ten new podcasts.
Naturally, that’s sparked plenty of hand-wringing. Some of it is justified. However, panic won’t help anybody. Instead, it’s worth asking what this shift actually means for the people who make, sell, and listen to audio.
Here are three of the biggest takeaways, in my opinion, of what this means for the industry going forward.
Podcast Competition is Only Going to Increase
As long as programmatic advertising rewards sheer engagement and listenership, more AI-generated shows are going to arrive. Developers can launch dozens of series in the time it takes a human host to book a single guest. As a result, the volume of new content will keep climbing.
That’s a problem, because discovery was already one of the biggest issues facing the podcast industry. Listeners struggle to find new shows they’ll love. Meanwhile, creators struggle to get found. An influx of AI-generated shows isn’t going to help.
In other words, the shelf is getting more crowded, while listener attention stays finite. Every new show, human or not, competes for the same ears. For independent creators, that reality is especially daunting. Therefore, standing out will matter more than ever.
Advertising Could Become More Complicated
That isn’t a good thing, either. If AI creates more shows, those same companies are just as likely to juice their numbers. After all, a programmatic system that pays for downloads doesn’t care who made the content.
So, what will advertisers value going forward? I think that’s a legitimate question. It’s going to be harder to determine what does and doesn’t have a tangible audience. Agencies already weigh downloads, completion rates, and listener demographics. Now they’ll also have to weigh whether a human is on the other end of the mic.
Ultimately, trust drives ad spending. When advertisers can’t trust the numbers, they hesitate to spend. That uncertainty could slow spending across the entire category. Consequently, honest creators who built real audiences could feel the pain first.
Authenticity is Only Going to Increase in Importance
Some listeners won’t care whether a show is AI-generated. I’m sure of that. Still, I believe an overwhelming majority will want personality, original experiences, and a human perspective more than anything else.
That’s what has made audio content discernible since the beginning. Radio built its legacy on voices people trusted, and podcasts followed the same path. Connection mattered then, and it’ll matter now. Personality will, too.
Think about the shows you return to every week. You likely return for the host, not the production. A synthetic voice can recite information, but it can’t share a lived experience.
Yes, there will be challenges. But there are always challenges. Likewise, the ones able to navigate them will, like in the pre-AI days, be best positioned to thrive.
The Bottom Line
Overall, the 29% figure isn’t a death sentence for human-made audio. Instead, it’s a reminder of what the medium does best. Technology can multiply output, but it can’t manufacture connection.
The audio industry has weathered plenty of disruption, from the rise of streaming to the podcast boom itself. Each time, the creators who offered something distinct found an audience. For that reason, shows built on real voices have every reason to feel confident, even as the crowd grows.
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Author and former business executive Myron Mullins has launched a new podcast, Regret Free with Myron Mullins. The show aims to help men and high-achieving professionals navigate career transitions, personal struggles, and isolation. To support its launch and growth, Mullins has partnered with Mike McVay and Ryan Kershner of McVay Media.
What We Know: Drawing from his own leadership experience, Mullins seeks to encourage transparency, vulnerability, and purpose beyond professional life. To that end, the podcast features conversations with entrepreneurs, business leaders, faith leaders, and authors. It also highlights individuals who have overcome adversity. In addition, Mullins launched Fight Club Men, an initiative that helps men overcome addiction and personal struggles. The program relies on faith, honesty, accountability, and fellowship. Ultimately, Mullins hopes men will move beyond past failures and redefine success. Specifically, he points them toward faith, family, personal freedom, and purposeful living.
What They Said: “Leadership can be a lonely and daunting assignment—transparency and vulnerability perceived as weakness and disqualifying. There is an amazing paradox that transcends these wrong beliefs that occur when people lay their insecurities aside for a greater life purpose that abides in each of us.” – Myron Mullins
“Ryan Kershner and I are honored to work with Myron and join this journey.” – McVay Media President Mike McVay
What Remains Unclear: Mullins has not yet specified a release schedule, such as weekly or bi-weekly episodes. Likewise, it’s unclear how often episodes will include solo commentary alongside guest interviews. Details on monetization and distribution have also yet to emerge.
What It Means: Together, Regret Free and Fight Club Men create a two-tier support network for men. The podcast offers accessible media, while Fight Club Men provides direct community accountability. Meanwhile, McVay Media brings top-tier production and syndication expertise to the project. As a result, the initiative aims to redefine executive leadership by normalizing vulnerability around isolation and addiction. It also offers a faith-filled framework to help men rebuild their identity after high-pressure careers.
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