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How Taylor Momsen and The Pretty Reckless Approach Their Writing and Recording Process

Terrie Carr
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How Taylor Momsen and The Pretty Reckless Approach Their Writing and Recording Process

Taylor Momsen is a rockstar—and we need rockstars in rock and roll! Taylor and her band The Pretty Reckless represent one of rock music’s most authentic and inspired bands to emerge in the past sixteen years. The Pretty Reckless writes and records their music when inspired. They don’t chase trends, and they don’t rely on chart positions. Notably, they have broken numerous chart position records, earning four number one singles out of the box.

Furthermore, they hold the record for the most number ones for a band led by a woman. Recently, they grabbed their ninth number one with “When I Wake Up.” They are the real deal—a true rock band with a powerhouse frontwoman who is rock and roll.

The band’s most recent release “Dear God” is a self-proclaimed look into Taylor Momsen’s diary, crafted with her longtime writing partner, collaborator, co-producer, and band guitarist Ben Phillips. Moving through her life via songs, the record is true and honest. It doesn’t sound like anything else and isn’t afraid to take chances. Moreover, the album brings listeners into different colors and textures. The release is described as one “our fans get.” Terrie Carr wanted to have Taylor on the Carr Stereo Podcast. She was glad to have the chance now, over a month into the album’s release. So far, it’s her record of the year.

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

Terrie Carr: Taylor, congratulations on a beautiful piece of music with Dear God.

Taylor Momsen: Oh my goodness. Thank you so much, Terrie. How are you doing?

The Release Party and Musical Direction

Terrie Carr: I’m well! And I was at your record release party. So here we go with the official Pretty Reckless napkin.

Taylor Momsen: We are SO official.

Terrie Carr: I’m so grateful that your record label did this. I thought it was a beautiful night for people just to get together and celebrate music. Fans were there, and I got to see people I know from the industry. We got to see you guys performing. It was beautiful—coming at us in that church in Brooklyn.

Taylor Momsen: It was very fitting to have it in a church, which part of me thought that I was going to burst up into flames. (laughs)

Terrie Carr: You came into my head even before we hooked this up because I did an interview with an artist last week. It was actually Linda Perry.

Taylor Momsen: I love Linda.

Terrie Carr: I said, ‘Linda…where do we go in music right now? Like we’re kind of in a f’d up situation.’ And she’s like ‘Artists aren’t writing when inspired.’ I thought of you. The Pretty Reckless does not do that. Taylor and Ben do not do that. They write and they record when they feel inspired. So talk to me about feeling inspired to put this very personal record together.

Taylor Momsen: The thing about inspiration is that there’s no process to it. That’s what makes it challenging. There’s no formula to inspiration. There’s this very long—well, sometimes it’s fast—but there’s this process of waiting and patience and living life. That can be torturous, for lack of a better term, because you don’t know when or if it’s going to come. I always wait for inspiration to strike because I never want to craft you a song. That is never my intention with music. I understand how it works. I’m very capable of doing it. You give me a topic and a style and say ‘Go write me a song,’ and I go, ‘Sure, I got you.’ I can do that if I have to.

But that’s not the kind of music that I want to make. I want to make music that’s coming from a very real place. It has layers and depth. It’s something that I want to express and I even want to need to. That’s why I write songs. I write songs to process my life and see things clearly or attempt to. I do it for myself as an outlet. Eventually, they turn into records.

This process for ‘Dear God’ was, in one way, no different than any other record. But the writing itself and what poured out of me at the end definitely had a different quality. It was very apparent to me—it was so brutally honest. Everything was directly ripped from my diary in a very matter-of-fact way. That created a very unique record for us. You’re getting a very intimate look into how my mind works and what it’s like to be me.”

The Sound of “Dear God” and Producer Collaboration

Terrie Carr: There’s so many textures and so many flavors on this record, and it doesn’t sound like anything else that is out there. It’s very unique. You worked with Jonathan Wyman. He worked with you and Ben crafting the sound. He’s a really unique crafter of your sound too, and has fit with you guys in the past. Talk to me about that relationship.

Taylor Momsen: John is the only person we’ve worked with other than Kato. So when Kato passed away, Kato was essentially the fifth member of the band. He just didn’t tour with us. And so when we lost him, we were very lost. We didn’t know where to go and where to turn from that. After that, and luckily, I knew one other person—John—who’s a fantastic engineer and a very dear friend of mine. And so I called him up because I’d written Death by Rock and Roll and needed to get it out.

We didn’t have a process in place for how to record without Kato. (Kato Khandwala was the band’s longtime producer and partner who died in 2018 in a motorcycle accident.) John was there through that entire learning process. He understood where we were at mentally. He was very supportive. And he gets our band. He’s family. John created a very comfortable environment for us. He allowed us to be who we were at that time, which was not great. In the grand scheme of music, Ben and I have always lived under the ethic of wanting our George Martin. We want to build upon what we did previously with the same team. Switching from producer to producer and having someone impart their own sound onto what we do has never felt right.

The AC/DC Tour and Rock and Roll Brotherhood

Terrie Carr: Speaking of symbiotic relationships, you’re back out with AC/DC! And we will grant them this—they did interrupt the recording and crafting of this record! We understood as fans. You take your break from recording for AC/DC. You say ‘yes, guys, we will come out on the tour that we never thought we would see.’ The Rolling Stones called too, which is also amazing. Crazy. Just crazy. What is it like to have these guys now as your brothers, your friends, your big bros? But they’re not even your big bros. You guys are bandmates! Tourmates! Is your family freaked out? Your dad? (Who is a big rock fan.)

Taylor Momsen: Totally freaked out! My dad just came to an AC/DC show. He came to a headline show and then an AC/DC show. He’s been to them before. But the thing about AC/DC is they’re one of the inventors. They’re so primal with it. They’re so rock and roll through and through to their core in the most genuine, unaffected, unpretentious way possible.

When you see their show, even if you’ve seen it before, it’s affecting. It’s so loud and so guttural. It just moves you in a way that nothing else does. Every time my dad comes to a show, his mind is just blown. My mind is blown! It’s blown every single night we’re on tour with them. I get to watch it every night, and it never gets old. It always has this fire to it that’s different every night but equally passionate. Angus is running around that stage like a maniac. It’s just awesome.

For the full hang with Taylor Momsen check out the video and audio versions of Carr Stereo. 

Taylor Momsen with TC YouTube

Taylor Momsen with TC On Streaming Platforms 

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

Streaming Services Develop Distinct Lanes Like Radio

David Hill
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Streaming Services Develop Distinct Lanes Like Radio

For years, the major streaming services have made a consistent promise: every song you want, available whenever you want it. Apple Music has it. Spotify has it. YouTube Music has it. Amazon Music has it.

The libraries may not be identical down to the obscure recording level. However, for the average listener, the differences are nearly invisible. If you want hits from Taylor Swift, Morgan Wallen, Kendrick Lamar, Sabrina Carpenter, or Foo Fighters, you can find them anywhere. You can access almost anyone else too.

That creates an interesting problem. When everybody has the music, the music itself no longer separates one service from another. This is starting to make streaming look a lot like radio.

The Radio Format Comparison

Radio stations have always shared access to the same basic music pool. Every country station can play country hits. And every classic rock station can play Led Zeppelin. Every Top 40 station can play the biggest pop records. The difference is how they package it.

One station builds around personalities. Another builds around music quantity. Another emphasizes discovery, lifestyle, community, attitude, or heritage. The library matters, but the lane matters just as much.

A recent DMN Pro report shows streaming services may be reaching the same point. According to the report, Apple Music moved ahead of Spotify in U.S. premium subscribers during the first quarter of 2026. DMN Pro estimates Apple Music had approximately 42.6 million core subscriber accounts and 63.1 million total users. Meanwhile, Spotify had 40.6 million accounts and 56 million estimated users.

The most interesting part is not simply that Apple moved ahead. It is how. The report does not identify one magical subscription tier that changed everything. Apple and Spotify have surprisingly similar mixes of individual, family, student, and group-plan users. Apple’s advantage appears to come from pricing, simplicity, household usage, and ecosystem size.

How Each Service Defines Its Lane

In radio language, Apple Music is beginning to define its format. Apple’s lane is not necessarily “better music.” It is convenience, integration, and familiarity. The customer may already own an iPhone, use iCloud, watch Apple TV+, or share services with family. Apple Music becomes another part of that existing relationship.

Spotify’s lane is different. Spotify appears determined to own the entire audio experience. Music, podcasts, audiobooks, playlists, recommendations, and discovery all live within the same platform. Apple is selling an ecosystem. Spotify is selling audio immersion.

YouTube Music occupies another lane entirely. Its strength is the relationship between music and video: official videos, live performances, covers, remixes, interviews, fan uploads, and creator culture. Amazon Music has its own potential position as part of Prime. It connects to shopping, devices, video, and Alexa. They all carry the songs, but they are no longer selling exactly the same product.

The Genre Question

The next question is whether particular audiences will find natural homes on certain platforms. Could album-oriented listeners feel more comfortable with Apple Music? Will playlist-driven discovery remain Spotify’s greatest advantage? Could genres fueled by visual culture naturally thrive on YouTube?

The DMN Pro report does not provide genre-level data that proves rock belongs on Apple or hip-hop belongs on Spotify. This would require additional research. But the larger direction is clear: the services are developing identities beyond their catalogs. That is exactly what radio formats do.

The Path Forward

A successful radio station does not merely ask, “What songs can we play?” It asks, “Who are we for? What experience are we creating? What emotional territory do we own?” Streaming services are beginning to ask the same questions.

The platform that wins may not be the one with the most music. They all have the music. The winner may be the one that most clearly understands its lane. Moreover, it must give listeners a reason to feel that lane belongs to them.

Research source: Digital Music News/DMN Pro, “Apple Music Pulls Ahead of Spotify’s Subscriber Total, Becoming the Largest US-Based Streaming Music Platform in 2026.”

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

Ten Industries That Face Massive Tech Disruption

Bob Lawrence
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Ten Industries That Face Massive Tech Disruption

If history has taught us anything, it’s that no business is immune to technological disruption. Last week, I discussed the massive changes that have wiped out entire industries. Just 20 years ago, few people would have imagined that video rental stores, travel agencies, or the world of print newspapers would be reduced to near-relic status.

Today, artificial intelligence, automation, robotics, biotechnology, and advanced computing are accelerating change at an unprecedented pace. It’s difficult to fathom that when a 10-year-old today turns 50, 80% of what they will know in the year 2076 has not happened yet. That simply means information and technology are growing at geometric rates. While no one can predict the future with certainty, several industries appear poised for dramatic transformation over the next decade.

#1 – Higher Education

Traditional four-year colleges face increasing competition from online learning, micro-credentials, employer-sponsored training, and AI-powered personalized education. More young people are also realizing they don’t require four to five additional years or the enormous debt often associated with traditional colleges and universities. As employers place greater emphasis on demonstrated skills rather than degrees, higher education institutions may be forced to rethink both their pricing and their old-school, traditional models.

#2 – Healthcare

While doctors and nurses remain essential, many administrative functions are becoming automated. Nurse practitioners (NPs) are helping organizations reduce costs by decreasing the need for more expensive physicians to handle every office visit. AI can already assist with scheduling, medical coding, insurance verification, documentation, and patient communications. Hospitals may also find they need fewer administrative employees and more technology specialists.

AI is rapidly analyzing contracts, summarizing case law, conducting legal research, and drafting routine documents. Rather than replacing attorneys, AI is likely to reduce the time and billable hours required for many everyday legal tasks, reshaping the economics of law firms. Will this impact the role of paralegals and legal assistants? We shall certainly see.

#4 – Customer Service

I called a service provider this weekend and was offered a “callback” from a virtual assistant who would be able to help. I decided to wait and speak with a live agent. Would that person truly be live or AI? I had no idea and eventually hung up.

The days of waiting on hold to ask a simple question of your mobile phone provider or credit card company may soon be behind us. AI-powered virtual agents are quickly becoming capable of handling customer inquiries through natural conversations. Human representatives will increasingly focus on more complex situations that require empathy, negotiation, or creative problem-solving. But how long will it be before we teach AI those emotions as well?

#5 – Commercial Real Estate

Remote and hybrid work continue to reshape demand for office space. Buildings designed for traditional corporate offices are increasingly being converted into residential housing, mixed-use developments, or specialized workspaces. Technology didn’t eliminate offices—it changed how often they’re needed.

#6 – Retail Checkout

Self-checkout was only the beginning. Computer vision, mobile payment systems, and cashierless stores allow customers to walk in, select products, and leave without stopping at a register. As costs decline, these technologies will likely become commonplace across retail.

#7 – Trucking / Transportation

Autonomous driving technology continues to improve, particularly for long-haul freight routes. While widespread adoption will take time because of safety, regulatory, and infrastructure challenges, automation may eventually reshape logistics, shipping, and delivery industries.

#8 – Financial Planning

AI-powered investment tools already provide portfolio recommendations once reserved for professional advisors. Financial planners who thrive will likely focus less on investment selection and more on comprehensive wealth management, estate planning, tax strategies, and the personal relationships that technology cannot easily replicate.

#9 – Manufacturing

Modern factories increasingly rely on robotics, machine learning, and predictive maintenance systems that can operate around the clock with remarkable precision. Future manufacturing jobs will emphasize programming, equipment maintenance, systems integration, and quality control rather than repetitive manual labor.

#10 – Media / Content Creation

Perhaps no industry is changing faster than media. AI can already generate articles, edit video, create graphics, produce voiceovers, compose music, and personalize advertising.

However, audiences still crave authentic personalities, trusted brands, investigative journalism, and original storytelling. The future belongs to creators who combine human creativity with AI efficiency rather than compete against it.

The common thread across all of these industries is not that technology will eliminate people. Instead, it will eliminate routine tasks while increasing demand for uniquely human skills such as creativity, leadership, emotional intelligence, strategic thinking, and relationship building.

For broadcast media, this should sound familiar. Radio and television have survived cable, satellite, the internet, smartphones, podcasts, streaming services, and social media. The companies that have prospered didn’t define themselves by a transmission tower or television signal—they defined themselves by their ability to inform, entertain, and connect communities across whatever platform audiences preferred.

The next decade won’t simply reward businesses that adopt new technology. It will reward organizations that continually reinvent themselves while staying true to the value customers actually want. Technology changes the tools, but the mission of serving people remains the same.

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

Elle Duncan: Social Media Creates “Manufactured Controversies” That Are Not Real

John Mamola
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Elle Duncan: Social Media Creates “Manufactured Controversies” That Are Not Real

Netflix sports host Elle Duncan is done pretending WNBA backlash online is organic. During an appearance on The Right Time with Bomani Jones, she explained how there’s no definitive answer in how to address the backlash. Also why she chooses to limit appearances talking about the issues of the WNBA.

What We Know: Duncan discussed the WNBA’s nonstop controversy cycle on The Right Time with Bomani Jones. The conversation followed Monica McNutt’s SportsCenter hit from a nail salon, which drew instant online criticism. That moment landed amid a broader stretch of outrage involving WNBA players and staff centered around Sophie Cunningham’s stance on transgender athletes participating in sports. Duncan addressed both her hesitancy in discussing the topics while also stating how social media tends to create controversy from topics as well.

What They Said: (All quotes from The Right Time w/Bomani Jones)

Elle Duncan says there’s no solution to frame controversial conversations about the WNBA to satisfy all sides: “I’ve been at this place of avoid, avoid, avoid. I just don’t want to talk about it. It’s a headache every time I talk about it. It gets clipped from a podcast. I have to avoid socials for four days. I’m getting text messages from right wing media companies which is a joke. I’m never coming on your show, Outkick. It’s never gonna fu**ing happen. You can literally stop asking. But I also think that isn’t a solution either to avoid and evade and like that’s not it either.”

Elle Duncan on the game the social media plays with lack of context: “I called it on the last podcast. I’m gonna talk about this. They’re gonna clip off 15 seconds of this, and then it’s gonna go viral. Then everyone’s gonna be in my s**t. That’s the tenor of social media, and I’m all good with it. You know why I’m all good with it? Because all I have to do to avoid it is put my fu**ing phone down. I still gotta go pick my kids up from camp. I still gotta be a snack bi**h when they come home. None of this actually matters because it is not real life. These manufactured ass controversies are not real. They’re fake.”

Elle Duncan on why she feels Monica McNutt’s SportsCenter hit received backlash since it was from a nail salon: “I think it’s because she’s a woman and because she was doing a very feminine thing. If Monica is like at the park working out, no one gives a s**t. But because she’s getting her nails done. Then all of a sudden she’s not being a professional, and I just think it’s so silly and absurd.”

What Remains Unclear: Whether or not Duncan will continue to limit appearances on podcasts or use of social media is unknown. Outkick has not responded to Duncan saying she’ll never appear on their platform. Also, ESPN has not commented on McNutt’s appearance from a nail salon on SportsCenter.

What It Means: Duncan’s remarks reflect growing frustration among sports media talent toward platform-driven and social media outrage. She’s arguing these cycles reveal more about social media than the sports, players, and sports media talent itself. Her blunt framing suggests thinning patience among on-air voices for chasing every viral clip. Whether or not if you agree with Duncan’s assessment of social media and online platforms, the conversation does generate interest, engagement, and more than likely clicks.

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Megyn Kelly: CNN’s Dana Bash Clearly Doesn’t Understand Her Job

Garrett Searight
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Megyn Kelly: CNN’s Dana Bash Clearly Doesn’t Understand Her Job

Megyn Kelly says Dana Bash missed the mark. The criticism followed Bash’s interview with Robert F. Kennedy Jr.

What We Know: Megyn Kelly sharply criticized CNN anchor Dana Bash after Bash’s contentious interview with Health Secretary Robert F. Kennedy Jr. The exchange centered on the conduct of Dr. Anthony Fauci during the COVID-19 pandemic, prompting Kelly to argue Bash failed to approach the interview with the skepticism expected of a journalist. Bash’s interview with Kennedy focused heavily on Fauci’s role during the COVID-19 pandemic and the administration’s handling of public health decisions. The conversation became contentious as the pair sparred over Kennedy’s assertions and Bash’s questioning. Kelly later weighed in, saying the interview demonstrated a misunderstanding of the role journalists should play when questioning government officials on controversial issues.

What They Said: “Fierce skepticism of government authority? Totally absent from CNN‘s COVID debacle. You’d think you know once bitten, twice shy. That, now, in an exchange with RFKJ, who had it right, you’d be a little humble. Nope. She was so meandering and such a lightweight in that whole discussion. My God, like ‘So are you? So are you? My job is to talk to people.’ No. What are you saying? You’re not a talk show host. Your job is to conduct an interview where you have to be armed with facts to challenge your guest, if it is a government official or a health official trying to push something as controversial as a lockdown, so that your audience walks away understanding what the weaknesses are in their position. What the eff? Why am I having to explain this to her?” -Megyn Kelly

What Remains Unclear: It’s unclear whether Bash or CNN will respond publicly to Kelly’s criticism. There’s also no indication the network views the interview differently or plans to address the broader concerns Kelly raised about its approach to COVID-related coverage.

What It Means: Kelly’s comments add another chapter to the ongoing debate over how journalists should question public officials on politically divisive topics. The exchange also underscores how interviews involving Kennedy, Fauci, and the pandemic continue to generate scrutiny from media observers across the ideological spectrum.

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

97.5 The Fanatic Shifts Jon Marks To Morning Drive, Elevates Ray Dunne To Middays

John Mamola
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97.5 The Fanatic Shifts Jon Marks To Morning Drive, Elevates Ray Dunne To Middays

Jon Marks is trading middays for mornings. Beasley Media Group’s 97.5 The Fanatic named him co-host of its new morning drive show, effective August 17.

What We Know: Marks joins Andrew Salciunas from 6 to 10 a.m., filling the slot vacated by John Kincade. He returned to The Fanatic last September after roughly two years away, hosting Middays with Marks. In addition, Ray Dunne shifts from producer to on-air host, pairing with Sean Brace on the new midday show from 10 a.m. to 2 p.m. Moreover, Unfiltered with Ricky Bo and Bill Colarulo continues unchanged in afternoons.

What They Said: Paul Blake, Vice President and Market Manager, Beasley Media Group Philadelphia: “Jon Marks has earned the trust of Philadelphia sports fans through years of outstanding work on the air. Making him a natural choice to drive our morning show. Along with Andrew, Sean, Ray, Ricky and Bill, we’re confident this lineup reflects the depth of talent at The Fanatic. Reinforcing our commitment to delivering the best local sports talk in Philadelphia.”

Scott Masteller, Program Director of 97.5 The Fanatic: “Jon has built tremendous momentum as host of Middays with Marks, making this the right time to elevate him into morning drive. His chemistry with Andrew Salciunas gives us an outstanding combination of experience, energy and perspective to start the day for Philadelphia sports fans. At the same time, Ray Dunne has earned this opportunity through years of hard work behind the scenes. We’re excited to pair him with Sean Brace. With Ricky Bo and Bill Colarulo continuing to lead afternoons, we’re confident this lineup will keep listeners engaged from the first segment of the morning through the final whistle each day.”

What Remains Unclear: The release doesn’t name a replacement for Dunne’s old producer role.

What It Means: The Fanatic is betting on homegrown talent over outside hires. Moreover, promoting Marks and Dunne signals confidence built from within, not recruited from rivals. In addition, with football season approaching, the station wants continuity and familiar voices leading every daypart.

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James Johnson Promoted to Weeknight Host at 93.7 KCLB

David Hill
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James Johnson Promoted to Weeknight Host at 93.7 KCLB

James Johnson moves into the weeknight chair at 93.7 KCLB ROCKS. The Coachella Valley native balances on-air duties with his current promotions director role.

What We Know Johnson transitioned from indie rock performer to radio professional. Currently, he serves as the cluster’s Promotions and Marketing Director. Now, this former BROSQUITOS lead singer expands his role with nightly broadcasting. His music background shapes his authentic, energetic on-air presence.

What They Said “I grew up in the Coachella Valley,” Johnson remarked. “Now I get to be part of the soundtrack for the place that raised me.” Regional Vice President Sommer Frisk emphasizes the decision rewards loyalty: “James has earned every bit of this opportunity. We’re excited to turn him loose on nights at KCLB-FM. He’s already a trusted voice in the Coachella Valley music scene. This promotion was long overdue.”

What Remains Unclear The industry hasn’t yet heard Johnson’s full weeknight show format. Listeners don’t know which musical direction he’ll emphasize during evening hours. Promotional strategy details for his expanded role remain under wraps.

What It Means Connoisseur Media demonstrates commitment to developing homegrown talent. Therefore, local personalities with community roots attract stronger listener loyalty. Furthermore, promoting from within builds stronger team morale and retention. Ultimately, this signals the broadcaster’s confidence in investing locally for long-term success.

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

Fox News Sees 20% Increase in YouTube Views During July

Garrett Searight
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Fox News Sees 20% Increase in YouTube Views During July

Fox News widened its lead on YouTube during July. The network outperformed every major television news competitor on the platform.

What We Know: Fox News generated 324 million YouTube video views in July, leading all major U.S. television news brands. The result marked a strong rebound from June, when the network totaled 270 million views. Although Fox News remained below its July 2025 total, it still finished well ahead of competitors. Meanwhile, CNN, ABC News, and MS NOW all posted month-over-month gains, while NBC News and CBS News slipped.

What the Numbers Show:

Year-Over-Year Performance

Brand July 2026 YouTube Views July 2025 YouTube Views % Change
Fox News 324M 332M ▼ -2.4%
MS NOW 246M 318M ▼ -22.6%
CNN 172M 209M ▼ -17.7%
NBC News 109M 165M ▼ -33.9%
ABC News 136M 121M ▲ +12.4%
CBS News 35M 51M ▼ -31.4%

Month-Over-Month Performance

Brand July 2026 YouTube Views June 2026 YouTube Views % Change
Fox News 324M 270M ▲ +20.0%
MS NOW 246M 245M ▲ +0.4%
CNN 172M 153M ▲ +12.4%
ABC News 136M 112M ▲ +21.4%
NBC News 109M 113M ▼ -3.5%
CBS News 35M 36M ▼ -2.8%

What Remains Unclear: The monthly totals don’t reveal which individual programs, personalities, or breaking news events drove July’s viewing. Likewise, YouTube’s public view counts don’t indicate watch time, audience retention, or revenue generated by each publisher. Those metrics could provide additional context for overall digital engagement.

What It Means: Fox News continues to demonstrate significant digital scale beyond linear television. Its 20% month-over-month increase suggests the network capitalized on July’s news cycle more effectively than its competitors. Even though year-over-year growth remained elusive, Fox News strengthened its lead over every major television news outlet on YouTube. As publishers continue investing in digital video, monthly YouTube performance has become another important benchmark for measuring audience reach and brand momentum.

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Arizona Cardinals Name J.P. Shadrick As New Radio Play by Play Voice

John Mamola
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Arizona Cardinals Name J.P. Shadrick As New Radio Play by Play Voice

The Arizona Cardinals have a new voice for Sundays. J.P. Shadrick officially becomes their play-by-play announcer.

What We Know: Shadrick, 44, replaces Dave Pasch, who exited after 24 seasons when ESPN signed him full-time. He’s called national NFL games for Westwood One since 2022 and college football for the Touchdown Radio Network since 2017. Before that, Shadrick spent 14 seasons with the Jaguars as senior reporter, radio host, and Jaguars.com anchor. Moreover, he’ll pair with analyst A.Q. Shipley and debuting sideline reporter Dani Sureck.

What They Said: J.P. Shadrick: “Dave Pasch is one of the great voices in our game and I appreciate the high standard that he left behind. I’m eager to work toward matching that but also take it further in my own style. I’m fired up to work with A.Q. Shipley too, his great personality combined with his in-depth knowledge of the game in all aspects makes him a top-tier analyst.”

J.P. Shadrick: “Who knew that this was the moment when Dave Pasch was going to go ESPN (full-time) and a week or two later, I’m talking to (director of radio and audio) Jim (Omohundro) and then a week or two after that I’m on with all the executives, and then two days later, there’s an offer. It’s like, really? I’ve got to pack this house now. Those are the emotions. Anybody who gets these gigs, everybody is fighting for the same stuff.”

What Remains Unclear: Terms of Shadrick’s agreement is unknown.

What It Means: This caps a 20-year play-by-play journey for Shadrick, one built through minor league stops, national syndication opportunities and studio hosting gigs. Consequently, the Cardinals gain a broadcaster steeped in NFL experience rather than a newcomer. “It’s gonna be so rewarding, man,” Shadrick said—summing up a long-awaited breakthrough.

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FOX Sports Unveils Broadcast Roster for 2026 NFL Season

John Mamola
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FOX Sports Unveils Broadcast Roster for 2026 NFL Season

FOX Sports unveiled its full NFL announcing lineup for the 2026 season. Drew Brees headlines the notable addition, joining the booth full-time for the first time.

What We Know: Kevin Burkhardt and Tom Brady return for a third season as FOX’s top team, with Erin Andrews and Tom Rinaldi on the sidelines. Joe Davis and Greg Olsen continue their pairing for a third year, with Pam Oliver reporting in her 32nd FOX season. Adam Amin begins his first full season alongside new analyst Drew Brees, the 2026 Hall of Fame inductee. Mike Pereira and Dean Blandino return as rules analysts.

Who To Watch: (via FOX Sports PR)

Broadcast TeamPlay-by-PlayAnalystSideline Reporter(s)
Team 1Kevin BurkhardtTom BradyErin Andrews, Tom Rinaldi
Team 2Joe DavisGreg OlsenPam Oliver
Team 3Adam AminDrew BreesKristina Pink
Team 4Kenny AlbertJonathan VilmaMegan Olivi
Team 5Kevin KuglerDaryl “Moose” JohnstonAllison Williams
Team 6Chris MyersMark SchlerethJen Hale

What Remains Unclear: Schedule of games for each team is unknown.

What It Means: FOX is banking on continuity heading into the 2026 season, keeping its top broadcast pairs largely intact. At the same time, adding Brees signals a push toward star power, especially after his Hall of Fame induction. Together, these moves suggest FOX wants both stability and marquee names driving its NFL coverage. Ultimately, the network is betting familiarity keeps viewers tuned in.

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