When Kenny Albert reflects on calling the United States men’s hockey team’s gold medal victory, he does not immediately reach for superlatives. Instead, he describes the experience as “surreal,” a word that captures both the magnitude of the moment and the unlikely path that led him there.
During a recent appearance on Stugotz & Company, Albert detailed what it meant to handle the gold medal broadcast for NBC Sports after working seven Winter Olympics throughout his career. While legendary voices such as Doc Emerick and Gary Thorne previously handled iconic gold medal matchups, Albert has now called three consecutive Olympic finals himself.
“I’ve done the gold medal game now three straight Olympics, but the NHL players weren’t there the last two. So definitely a different feeling,” explained Albert.
That context framed this latest assignment differently. Albert said the way the tournament unfolded only added to the sense of disbelief once the United States secured gold. Having been part of multiple Olympic broadcasts without NHL participation, he recognized immediately how rare it felt to call a final featuring elite talent and historic stakes.
When comparing the game to other marquee events on his play by play resume, Albert did not hesitate.
“As far as the magnitude of it, and I’ve done Stanley Cup Finals. I did a Super Bowl, which was the international feed,” said Albert. “I think as far as the magnitude, definitely, the biggest for sure.”
The workload leading up to the final made the accomplishment even more remarkable. Albert revealed that the gold medal game marked his 24th broadcast in Milan over an 18-day stretch, covering both men’s and women’s competition.
“It was like Groundhog Day. You just got into the routine every day,” joked Albert.
Perhaps most surprising, Albert said he did not feel unusually nervous entering the gold medal matchup. In fact, he approached it as he would any other game in terms of preparation, timing and execution.
“Obviously, it was a lot bigger because was the gold medal game. But I wasn’t really nervous or anything like that. People asked me if I was nervous. Not really, because we had done 23 games,” said Albert.
That steady approach reflects Albert’s broader philosophy. Regardless of whether he is narrating an early-round matchup or a championship showdown, the preparation does not change. The Olympic gold medal game may stand as the pinnacle of his broadcasting career, but for Albert, excellence comes from treating every assignment with identical focus and discipline.
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After more than a decade hosting a weekend show on KFI-AM 640, Dr. Wendy Walsh has exited the iHeartMedia Los Angeles news/talk station.
Sunday was Walsh’s final show on the station. In a post on social media, Walsh shared that she was exiting her timeslot on the station “due to corporate budget cuts and layoffs.”
“For more than a decade, it has been my honor to share the science of love and interpersonal connections with you,” said Walsh. “Producer Kayla and I have enjoyed your calls and feedback, as well as sharing our enthusiasm for science-backed strategies for better human relationships. There is no more important time for us all to care about each other. The isolation epidemic is real. The fracture of the family has had a profound impact on mental health, and encroaching AI is causing delusions and misplaced attachments.”
The Dr. Wendy Walsh Show aired from 7-9 PM on the station. She shared that she’ll continue to offer her thoughts on love, dating, relationships, and everything in between on her social media channels.
It is unclear what programming will be inserted into the KFI-AM 640 lineup following Walsh’s departure.
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YouTube continues to expand its presence in live sports, and now the platform has emerged as a serious contender for a small but potentially meaningful NFL rights package that remains unsettled following the league’s broader agreement with ESPN.
According to Sports Business Journal, YouTube is in talks with the National Football League about four games carved out in the league’s equity agreement with ESPN. Negotiations remain ongoing, and multiple bidders are still involved. The final structure of the package has not been finalized. That includes which matchups and time windows will ultimately be part of the deal.
The four-game bundle may not represent a long-term fixture in the league’s media ecosystem. Instead, SBJ indicates the NFL could treat the offering as a short-horizon bridge while executives continue shaping a larger strategic vision for future distribution models.
In fact, several parties have expressed unsolicited interest in a package, reinforcing the sustained appetite for live NFL programming across both traditional and digital platforms.
YouTube previously tested its ability to handle a standalone National Football League broadcast. The platform streamed the season-opening matchup between the Los Angeles Chargers and Kansas City Chiefs from Brazil last season. The Week 1 game drew 18.5 million viewers in the United States. It also attracted roughly 1.1 million additional international viewers. Those figures demonstrated that YouTube can scale live distribution beyond its core subscription base.
Meanwhile, the NFL’s growing international footprint continues to create scheduling flexibility.
The league is planning nine international games in 2026, a number that exceeds what NFL Network alone would typically shoulder. Although NFL Network is expected to retain a significant share of those contests, the expanded inventory opens additional windows for outside partners.
Beyond international games, the National Football League could carve out additional exclusive digital windows later in the season. The league has already experimented with that model. Recent streaming-only matchups have aired on Peacock and ESPN+.
In addition, National Football League officials could explore expanding the Black Friday footprint. The event currently features a single exclusive game on Amazon Prime Video. League executives may consider turning it into a broader, multi-platform showcase.
Neither the NFL nor YouTube have commented on the reporting by SBJ.
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The Atlanta Braves are taking full control of their local television future. On Tuesday, the organization unveiled BravesVision, a team-owned and operated multimedia platform that will serve as the official local television home of the club beginning with the 2026 season, marking a significant shift in how Braves baseball is produced, packaged and delivered across the Southeast.
By bringing production, sales, marketing, and distribution in-house, the Atlanta Braves gain full control of their broadcasts. The move places the franchise at the center of every creative and business decision. It also reflects a broader industry shift. More teams are pursuing autonomy as the regional sports network model continues to evolve.
“This endeavor will bring the most vital link to our fanbase — our television broadcast — back under the control of our organization,” Braves President and CEO Derek Schiller said in a statement. “Generations of Braves fans were raised watching games on a network that shared ownership with the baseball team. With BravesVision, we believe that we can present Braves baseball in new and innovative ways allowing us to expand and elevate our storytelling capabilities across all of our platforms.”
BravesVision plans to produce more than 140 regular-season games. It will also deliver expanded pregame and postgame coverage. That structure gives the Atlanta Braves direct control over on-air presentation. It also allows oversight of sponsor integration and digital extensions.
Distribution will follow a multi-pronged strategy designed to reduce friction for fans across the Braves’ six-state territory. Through direct agreements with cable, satellite, and streaming distributors, BravesVision will be carried by traditional video providers. Channel placement and availability will be announced once those agreements are finalized.
In addition, the service will stream on Braves.TV, Major League Baseball’s digital platform, allowing subscribers to watch all non-national exclusive regular season games without local blackouts. Fans will also have the option to purchase out-of-market access to follow every MLB team.
The team will continue its relationship with Gray Media, which will simulcast a select number of games over the air for free across Atlanta and the broader Southeast for a second consecutive season. Specific OTA matchups will be revealed prior to Opening Day. Gray Media’s involvement will extend beyond the regular season. The company plans to carry 15 Spring Training games in 2026 across 26 Southeastern markets, while streaming those contests free on Braves.TV for fans who register for an account.
The launch of BravesVision builds on what the Atlanta Braves call an expansive multimedia platform. That footprint includes the largest radio affiliate network in Major League Baseball. It also features a growing slate of short-form digital content. The organization boasts more than eight million social media followers.
National broadcasts will remain part of the picture as well, with appearances on partners such as FOX/FS1, ESPN, TBS, NBC/Peacock and Apple TV continuing under MLB’s existing agreements. The Braves had been with Main Street Sports Group before it collapsed earlier this month.
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Audacy has expanded the responsibilities of longtime Sacramento programmer Andy Hawk, naming him brand manager of 96.9 The Eagle (KSEG-FM) and 98 Rock (KRXQ-FM) while he continues to oversee ALT 94.7 (KKDO-FM), placing all three of the company’s rock-formatted stations in the market under a single strategic vision.
In the expanded role, Hawk will direct content strategy, talent development, imaging, operations and brand positioning for the heritage rock outlets, aligning them with broader corporate initiatives while maintaining distinct identities that have resonated with Sacramento listeners for decades.
The move gives him oversight of a cluster that touches multiple generations of rock fans, from active rock loyalists to alternative enthusiasts, at a time when companies continue refining how format brands compete for audience share and advertiser attention across broadcast and digital platforms.
“Andy’s smarts, passion and love for Sacramento make him the definitive choice to lead these two legendary brands into their next chapter,” Rock Format Vice President Ryan Castle said, noting Hawk’s deep ties to the region and his familiarity with the competitive landscape.
Castle added that Hawk understands the community’s pulse and is well positioned to guide the stations forward as listening habits evolve and audience expectations shift in a multiplatform environment.
For Hawk, the appointment represents both a professional milestone and a personal full-circle moment, as he grew up listening to the very signals he will now supervise.
“I’ve grown up with these stations and have worked alongside the programmers of KRXQ and KSEG for the last two decades,” said Hawk. “It’s truly an honor to get to lead these two massive Sacramento Brands.”
Hawk’s career trajectory reflects steady growth within the company and the format. He began as an intern at 98 Rock in 1997 before earning on-air opportunities that included hosting “Local Licks,” a program focused on regional music, and later serving as a traffic and weather anchor from 2009 through 2015.
That on-air foundation eventually transitioned into management when he assumed his first leadership role in 2016 as alternative regional brand manager, expanding his influence beyond a single daypart and into broader strategic planning.
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Detroit radio host Josh Innes isn’t backing down after 97.1 The Ticket’s Mike Valenti delivered a blistering critique of the United States men’s hockey team’s gold medal victory over Canada. Innes forcefully pushed back on Valenti’s dismissal of both the moment and the emotional reaction from fans who embraced it.
During Monday’s edition of The Mike Valenti Show with Rico on 97.1 The Ticket, Valenti took aim at what he described as over-the-top patriotism tied to Olympic competition. He argued that fans who suddenly morph into die-hard supporters during the Games are manufacturing outrage and meaning where little exists.
“If you’re unhinged about the Olympics, you’re a fool. You’re an effing fool, because they don’t mean anything. Nothing,” said Valenti. “You didn’t care. But now you want to cape up and act like you’re what Captain America. Did you carry a shield to work? Grow up, losers.”
Valenti went further with his criticism. He said fans are free to celebrate the victory. However, he argued he is equally entitled to question how the gold medal game ended. He specifically cited a potential three-on-three overtime format. In his view, that structure diminishes the achievement.
Comparing the celebration of this title to the reverence often reserved for the 1980 U.S. Olympic hockey team, Valenti said enjoying the win is fine, but placing it alongside the “Miracle on Ice” is a bridge too far, likening it to calling a good steak dinner the best of all time when it simply “felt cheap.”
Enter Innes, now hosting mornings on 106.7 WLLZ in Detroit, who didn’t appreciate Valenti’s framing. In a sharply worded post on X, the former sports radio host said that while sports may not carry life-or-death consequences, they have certainly fueled lucrative careers for the very hosts minimizing their importance.
“Here’s the thing, nothing means anything. Sports means nothing. But, it’s made you a s**t ton of cash,” Innes wrote. “If it’s anything you enjoy, Mike and his chuckle puppet co host will s**t on it.”
Here’s the thing, nothing means anything.
Sports means nothing. But, it’s made you a shit ton of cash.
If it’s anything you enjoy, Mike and his chuckle puppet co host will shit on it. https://t.co/USw0ZSfk3u
While Valenti questioned the structural integrity of the gold medal finish and the reflexive comparison to 1980, Innes framed the critique as dismissive of the very passion that keeps sports radio thriving.
Ultimately, the debate reveals as much about talk radio strategy as it does about hockey history. It highlights how personality-driven commentary can reshape the narrative. Even a gold medal celebration can start a debate about what sports represent.
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CNN has announced its State of the Union coverage plans, with several of the network’s primetime talents included for the major news event.
Jake Tapper and Anderson Cooper will anchor the network’s coverage on Tuesday evening at 8 PM ET. They will be joined by Kaitlan Collins and Kasie Hunt live from Washington. Cooper — who will be based in New York — will be joined by Abby Phillip, John King, David Axelrod, Kara Swisher, and former Rep. Patrick McHenry (R-NC).
Dana Bash will be at Statuary Hall inside the Capitol for interviews with those attending the speech, and on-the-ground updates throughout the evening. She’ll join Jake Tapper inside the CNN studios following the address. Manu Raju will be inside the House Chamber for the address, while Kristen Holmes will be stationed at the White House for live reporting.
Van Jones and Scott Jennings will be based in Saginaw, Michigan, where they’ll speak directly with voters and hear their reactions to the State of the Union address. The two will also lead a streaming broadcast on the CNN All Access subscription service from 8:30 to 11:30 PM ET.
Beginning at 12:30 AM ET, Abby Phillip will lead a panel for their commentary and analysis of President Donald Trump’s speech.
David Chalian will share instant polling data throughout the evening for CNN, while Daniel Dale will serve as the fact-checker throughout the network’s coverage.
The network will also provide coverage of the Democratic response from Gov. Abigail Spanberger (D-VA).
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ESPN is making its largest commitment yet to Banana Ball, striking a 25-game exclusive agreement with the Savannah Bananas that will place the viral baseball entertainment brand across ESPN platforms and Disney+ throughout 2026, beginning February 28.
Under the new arrangement, every Bananas game will stream on the ESPN App and Disney+ for subscribers to the Unlimited plan, while more than 15 contests will also receive linear exposure across ESPN networks.
Select matchups will air on ABC, including what both sides describe as a landmark national showcase from Autzen Stadium in Eugene, Ore., marking one of the biggest stages the Bananas have ever taken.
The expanded slate more than doubles last year’s 12-game package. It also deepens a partnership that began with the ESPN+ Original series Bananaland. That relationship included a handful of live telecasts in 2022. Since then, the Savannah Bananas have expanded their visibility across ESPN and Disney platforms. They have capitalized on sold-out shows, strong social media engagement, and a touring model that blends baseball with choreographed entertainment.
Brent Colborne, ESPN’s Vice President of Programming Content & Strategy, said the expanded distribution mirrors growing fan demand. He noted that audiences increasingly seek live events that blur traditional sports boundaries.
“This expanded agreement reflects the incredible growth and fan demand surrounding Banana Ball,” said Colborne. “From iconic football stadiums to classic ballparks, these events showcase the energy and creativity fans love. Delivered with the full reach and flexibility of ESPN, Disney+, and ABC.”
Owner Jesse Cole framed the deal as a pivotal step for Banana Ball’s next phase, which includes the launch of the Banana Ball Championship League featuring six teams.
“We are fired up to be teaming up with ESPN with our biggest partnership to date,” said Cole. “Banana Ball has grown massively on the platform over the past few years. Now, as we launch the Banana Ball Championship League with six teams and sold out shows all over the country, we couldn’t imagine a better partnership to grow the game.”
The schedule also integrates several high-profile Disney tie-ins designed to blur the lines between sports telecast and theme park experience.
On March 26, the Bananas will align a game at Angel Stadium against the Indianapolis Clowns with Savannah Bananas Day at Disneyland Resort in Anaheim, creating a coordinated celebration across the ballpark and park grounds.
Two months later, Banana Ball will travel to Walt Disney World Resort, where the ESPN Wide World of Sports Complex will host games featuring the Party Animals and the Loco Beach Coconuts as part of a broader fan activation weekend.
Later in the summer, the tour will make a stop near ESPN’s Bristol headquarters with an event at Dunkin’ Park in Hartford, Connecticut, spotlighting the Party Animals and Clowns in a made-for-summer showcase that underscores ESPN’s emphasis on live experiential programming.
All 25 games will be produced by the Savannah Bananas organization.
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The single biggest task that a sports commentator or talk show host has is meeting the audience’s needs. For over two decades working in sports radio, we were always told to play the hits. Cater to what the audience demands and is interested in instead of your own preferences. Networks and radio companies will spend assets on research projects to understand and define who their target consumer is. Sometimes the research confirms what a talent’s thought process is. Oftentimes, it reveals a different consumer makeup.
First Take has forever been heralded as ESPN’s flagship morning show. Despite the efforts of programs that precede it, First Take has always stood out as the home of sports debate on ESPN. Stephen A. Smith has long argued that the show’s rundown of topics is based on a wide range of research. Far too often, however, the show faces criticism for the amount of Dallas Cowboys coverage or its NBA-over-everyone approach.
Monday was another moment for the highly successful program that left me scratching my head. Following the United States’ historic gold medal–winning performance over Canada that captured the nation’s attention, I was curious to see how First Take would approach the topic. What I found raised even more questions than answers.
When final viewership numbers become available for the United States’ gold medal win over Canada, they will likely surpass even the highest-viewed NBA games of this season. In fact, the NBA Finals over the past couple of seasons may not eclipse the average viewership of the gold medal contest.
The game unified the country. It trended across social media platforms. It also stood as the crown jewel of NBC Sports’ presentation of the 2026 Winter Games. One might expect that, just 24 hours after the United States flag rose in Milan, First Take would open with the Olympics’ biggest story.
Instead, ESPN’s flagship morning show embraced debate about the Los Angeles Lakers’ loss to the Boston Celtics.
Stunning, I know.
Instead, First Take opened Monday’s program by spending its first 11 minutes on Boston’s win over the Lakers. The panel focused on how the result affected Jaylen Brown’s MVP case. To be fair, the United States’ victory over Canada served as the B story. Stephen A. Smith shared his initial reaction. The show then welcomed P.K. Subban, now an ESPN NHL analyst, for further discussion.
Smith called gold medal–winning goaltender Connor Hellebuyck “Havla-chuck” and joked, “let’s do the hockey.” Not that I expect Smith (and his $20 million salary) to be a hockey aficionado, but the moment could have used a little more respect from ESPN’s top commentator.
Twelve minutes of a Q&A with Subban on the USA win over Canada, and that was it for First Take on the biggest sports story of the weekend.
Instead, the rest of the show included breakdowns of NBA action over the weekend, more on Brown’s MVP chances, and an interview with WWE superstar Trick Williams.
It made me wonder: Doesn’t the NHL have a television deal with ESPN? Didn’t the NHL allow its players to compete at the highest level, playing for country over team? Isn’t this the USA’s first gold medal in ice hockey in 46 years? Wasn’t this a win over its top rival and most heated combatant?
When WWE receives more time with a C-level superstar than a gold medal–winning performance from Team USA, there needs to be some line of questioning. Is the research saying hockey at all levels should be ignored on First Take? Was the USA men’s hockey team being the most viewed sports competition of the weekend not a factor at all?
Did Stephen A. Smith even watch “Havla-chuck” and his game winning saves throughout the Sunday contest?
Across the country, sports radio stations led with the United States’ gold medal victory. That was true in both NHL and non-NHL markets. Even cities digging out from a blizzard opened with the win over Canada. Hosts discussed its impact on the NHL, the sport’s growth, and how the 2026 Milan Olympic Games may ultimately be remembered.
WFAN and ESPN New York kept their audiences warm with reflections on a gold medal for the USA. Boston’s WEEI and 98.5 The Sports Hub shared stories about where they watched and the emotions that poured out after the win. From Chicago’s 104.3 The Score to ESPN Los Angeles, USA Hockey was the top topic for the listening audience first thing in the morning.
Even non-NHL markets like Charlotte’s WFNZ woke up to discussion about the USA winning gold over Canada. KNBR in San Francisco led with it as well. Even ESPN Radio’s morning show Unsportsmanlike began first and foremost with the United States winning a gold medal.
That’s playing the hits. The concept may be old hat for some, but First Take stood out like a sore thumb. The show didn’t play the hit in the manner in which it should have. It then masked the lack of care for the content that Smith could have provided by presenting the segment as an interview with P.K. Subban.
There are few moments that call for rare showcasing of sports topics on shows that would never touch the subject matter at all. Yesterday, First Take failed to deliver what the audience wanted. It was also a moment when sports radio across the country shined brightest, while those who get the spotlight far too often didn’t meet the moment.
For a show that has long prided itself on research, relevance, and reading the room, Monday felt like a massive miss.
This isn’t about turning First Take into a hockey show. It’s about recognizing when the sports world hands you a moment bigger than your usual programming habits. When the country unites around a 46-year wait ending and a rivalry with Canada delivers drama worthy of the biggest stage. When viewership and emotion intersect in a way that reminds people why they love sports in the first place.
That’s not niche or even regional. That’s not optional.
Playing the hits isn’t about personal preference or contractual obligations. It’s about understanding the pulse of the audience in real time. On a morning when sports fans across America were still buzzing about a gold medal, replaying saves and goals, and feeling pride as the flag rose overseas, the biggest debate show in sports television chose a different direction.
And that’s the lesson.
When you’re the flagship, you shouldn’t be allowed to miss the moment.
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Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.
Today we hear from Nick Attaway, VP of Radio Promotion at BMG. Only a veteran with decades of experience can handle so many projects and the pressures that come from being at one of the world’s biggest music companies, promoting some of the biggest artists. Nick is a multi-genre problem solver who brings a lived-through-it POV of the music industry.
So, let’s dive in.
The Label’s JobNow
Keith: If an artist can record, distribute, market, and build an audience without a label, what is the non-negotiable value a modern label still brings in 2026?
Nick: A modern label is a true brain trust. It’s a coordinated team that sets and executes long-term strategy across production, marketing, digital, sync, radio, and beyond. Yes, we use Platforms and data to help us identify and reach audiences—but the real differentiator is expertise and long-standing relationships.
At BMG, we operate globally, without territorial limitations. As an independent, privately held company, we can take a long-term view, investing strategically and moving decisively.
You’re seeing management companies build internal teams—and that makes sense. But many still seek label partners for greater reach, scale, and impact.
Your Job Then & Now
Keith: If artist promotion were the military, your uniform would be covered in pins and medals — how is the job different today vs. “back then,” and which is more challenging?
Nick: What hasn’t changed is that trust, and relationships still drive everything—especially in radio promotion. And the most important thing an artist can do remains the same: tour relentlessly and work the record. Meet and greets, interviews, sessions, quality social content….it all matters.
What has changed is capacity. Programmers are doing more with less—less staff, less budget. Labels are leaner too. That makes partnership essential.
Today, it’s less about being buddies and more about delivering value that supports their brand.
We have access to more data than ever before. It’s powerful, but the key is distilling it into a clear story and vision. And now AI is entering the picture. Its impact will be significant, but how it reshapes promotion and discovery is still unfolding.
The BMG Difference
Keith: Your job requires balancing art and ROI, yet BMG prides itself on being “artist first.” In the real world of promotion, does that change your day-to-day compared to other labels you’ve worked for?
Does that change your day-to-day?
Nick: I operate with full transparency. Managers can ask me anything—budgets, strategy, timing.
In the past, communication was often filtered through multiple layers. Today, real-time clarity makes everyone a stronger partner. When artists and managers understand the strategy, they engage at a higher level.
Spending Success
Keith: Chart positions used to be something labels could engineer with the right spending strategy. Now that consumption is so fragmented, is it still possible to “buy” a hit?
Nick: Ultimately, a hit can’t be bought. The audience decides. A No. 1 at radio doesn’t automatically make a song a hit. A real hit researches, drives streams and sales, and grows the live business.
Daily radio listenership among younger audiences continues to decline as streaming offers endless alternatives. So instead of creating hits from scratch, radio often amplifies songs that are already resonating on streaming and extends their lifespan.
How Important Is Image in 2026?
Keith: In 2026, can a great song still break an artist without a great or unique image, or has the visual brand become a deal-breaking-or-making part of the equation?
Nick: Absolutely. Last year’s No. 1 streaming single for BMG was “Blue” by Yung Kai—his first hit. Over 2 billion global streams and more than 100 billion short-form views. That translated into global touring and album consumption.
This was a song that emotionally connected without a traditional big-budget rollout. It was lightening in a bottle-but it proves a great songcan still be enough
Today’s Skills
Keith: If promoted and forced to find the next “Nick,” what skills matter most when hiring your replacement? relationships, data proficiency, creative instinct, or something else altogether?
Nick: Relationships, data fluency, creative instinct—they’re all part of the toolkit.
But the most important skill is critical thinking. The ability to see the big picture, anticipate outcomes, and build a plan to win. Pair that with confidence and competitive drive and you have the right hire.
Radio’s Strength
Keith: Platforms like IG or TikTok are good at creating flash-point moments, but what’s radio’s biggest strength in launching artists?
Nick: The human connection. At their best, jocks are trusted filters—friends, storytellers, influencers. When they champion a song or interview an artist, it creates real mindshare. That drives streams and ticket sales.
In a world full of content, radio can still cut through when it spotlights something new.
Artist Control
Keith: BMG artists have some control in the overall process — where does artist control help and where can it hurt?
Nick: Artists controlling their own socials is huge. Authenticity can’t be outsourced. They should tell their own story. Every artist should have a videographer on tour.
Where it gets tricky is single selection. Artists often gravitate toward the newest, most complex, or most personal track. Often, the biggest hit is the simplest one-the song that feels effortless.
That’s why fresh, trusted ears matter. It should always be a discussion.
AI
Keith: How would you take a fully AI-developed record to rock radio?
Nick: AI can serve as a tool, rather than a replacement. If a record were developed entirely by AI, I’d want to see clear evidence that it connects emotionally with real audiences before considering it for radio.
Also, iHeart has adapted a “Guaranteed Human” pledge, which currently excludes fully AI created songs… so there’s that.
Politics & Music
Keith: How does a label navigate strong political statements from artists?
Nick: Artists are human. They have the innate creative license to speak their minds. Is it always strategically wise? Not necessarily—especially if it alienates a large segment of the audience. Labels typically step in only if a statement creates legal, safety or brand risks.
Your Advice
Keith: When it comes to having a positive, healthy and fair ecosystem for all, what does the music industry need to do to become a 10 out of 10?
Nick: A strong start would be artists owning their music, having access to healthcare and mental health resources, and being supported in long-term development and financial planning.
Your Best Story
Keith: You’ve been doing this for a long time and have worked with dozens of superstar artists, what’s the one story you love to tell – success, flop, pure mayhem — that we should hear?
Nick: In 1996, I took Mark and Tom of Blink-182 on a helicopter ride after a club show. While hovering over the Luxor, Mark asked me if they would be big. I told them they would be HUGE! In Mark’s book, he wrote that I was a label head trying to get them to re-sign.
In reality, I was the college radio rep who was told to spend my T&E budget so it wouldn’t get cut.
Twenty years later, I’m on a call with Mark, Travis, management, and the team planning the California album. I told him I’d deliver two No. 1s at Alternative—something they’d never had. Then I reminded him about the helicopter ride around Vegas before they broke.
He said, “Oh my God! I remember you. That was my first helicopter ride.”
You never forget your first helicopter ride. Later that year, Blink-182 had two No. 1’s at Alternative radio.
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