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Radio in the Age of TikTok: Why Quick, Clear Openings Win More Listeners in Hot AC

Jim Ryan
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Radio in the Age of TikTok: Why Quick, Clear Openings Win More Listeners in Hot AC

In an age of shrinking attention spans and countless entertainment options, the most successful radio personalities understand one crucial rule: get to the point, and get there fast!

You still need to be human and emote, which is something AI has not yet mastered. You can bet they are working on that! Talent who can instantly connect with listeners is far more likely to build loyalty, drive ratings, and create memorable moments that stand out in a crowded landscape.

We all know too well that radio is no longer the only game in town. Podcasts, streaming, social media, and short-form video all compete for the same ears and eyes. Plus, all of those platforms have one thing in common: they respect time.

If content doesn’t grab attention immediately, it gets skipped. Radio is no different. A meandering break, slow setup, or overlong anecdote can mean the difference between a listener leaning in or tuning out. Great on-air breaks begin with a hook.

That’s the headline, the tease, the grabber that says, “This is going to be worth your time.” It could be as simple as: “She found something shocking in her husband’s glove compartment…” or “Here’s the artist whose biggest hit almost didn’t get released…” A compelling setup sparks curiosity, and curiosity is sticky.

The first seven to ten seconds of any talk break are critical. That’s where listeners subconsciously decide: Do I keep listening or bail? If the opening is vague or padded with filler, the moment is lost.

Yes, station business, such as the call letters and on-air positioning, should still happen, but it certainly does not need to happen to open or close every break. Listeners aren’t rude, they’re just busy.

TikTok and YouTube have trained their attention to expect something fast and meaningful. Talent must meet that expectation by respecting the listener’s time. But this isn’t just about speed. It’s about clarity.

Rambling can signal uncertainty. While clear, focused delivery shows confidence and purpose. Listeners pick up on that. A tight, well-structured break that starts with a compelling point communicates that the host knows where they’re going and that it’s worth the ride.

It’s not enough to just “be entertaining.” Talent must position the entertainment upfront, so people know what’s coming and why they should care. That’s especially important in formats such as Hot AC, Top 40, Country, and Classic Hits, where listeners often tune in for music but will stay for personalities who feel relatable and worth their time.

I would say the average listener gives you about 15 seconds before deciding whether to stay with your station. That’s the length of a short tease or the start of a break. Talent who understand this can weaponize brevity.

They know or learn to frontload their content, whether it’s a personal story, a trending topic, or a funny observation. It also makes content more shareable. A strong opening makes clips more likely to be replayed, posted, or turned into social content.

Quick, impactful breaks are also easier for PDs and imaging teams to package and promote. In other words, a good beginning not only holds the moment but multiplies its value. There’s still room for nuance and storytelling—but only after the audience is locked in.

You don’t start a movie with ten minutes of backstory. You drop the viewer into the action. Then you explain the details. Radio breaks should follow the same structure: hook first, details second, wrap clean.

So, Hot AC programmers and managers, be sure your teams know that talent who want to stand out in 2025 must think like great headline writers and compelling storytellers. Every word counts.

Every second matters. When you start strong, you earn the right to keep going. When you don’t, you’ve lost them—and they might not come back.

In the battle for attention, brevity is power. Say it quickly, say it clearly, and say it in a way that makes the listener want more. Getting to the point isn’t just good practice, it’s survival!

Barrett Media produces daily content on the music, news, and sports media industries. Stay updated by signing up for our newsletters to receive the latest information directly in your inbox

One Year Later: Key Takeaways on Music Radio Coverage

Jeff Lynn
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One Year Later: Key Takeaways on Music Radio Coverage

It’s hard to believe that it was one year ago today that I sat down at this very desk and we launched Music Radio coverage for Barrett Media. I came on board after being Country Format Editor for All Access until it shut down in August of 2023.

I learned pretty quickly that Barrett Media’s vision for Music Radio differed from the model of All Access, but there was a void to be filled, just from a slightly different perspective.

Covering music radio—across formats as varied as Top 40, Country, Rock, Urban, AC, Classic Rock and everything in between—requires a different set of muscles than what Barrett Media has exercised in the world of sports and news talk radio.

Music radio isn’t just about playlists or ratings; it’s about culture, lifestyle, nostalgia, and personality. It’s about the listener’s emotional connection to sound and the people behind the mic.

I’m proud of the features we have presented. 20 Brands in 20 Days, Meet The Music Directors, Consultants Corner, and others set a good tone for the first year.

Right now, columnists Mike Stern, Kevin Robinson, Ken Johnson, Keith Cunningham, and Jim Ryan are providing some of the most insightful expertise you will get anywhere.

Charese Fruge brings a deep programming background that allows her to relate to and profile some of the industry’s biggest.

Since there was no clear blueprint, we experimented with some success, and some things were a learning curve. But Jason Barrett isn’t a businessman who will just follow a path already traveled. I have admired his willingness to take some chances. Again, some that paid dividends and some that didn’t.

With each piece, we continue to dial in on what the industry is looking for.

We’ve learned that there is an appetite for content that goes deeper than press releases and surface-level stories. Programmers, talent, and executives want to be understood, not just quoted. They want to talk about creativity, risk, strategy, and even failure.

Do our readers prefer deep dives or quick hits? Do they want to hear from air talent or executives? Are they more interested in ratings analysis or behind-the-scenes stories about format flips, promotional strategies, and local engagement?

The truth is there’s no one-size-fits-all answer. But we’ve made it a priority to listen to our audience, learn from their feedback, and evolve accordingly.

I am very appreciative of the Program Directors, air talent, consultants and many in the C-suite who are willing to take my call and contribute, be it with a feature or just providing an opinion or idea to a column.

We want to celebrate the personalities driving music radio forward, but we won’t shy away from asking tough questions either. We want to be a platform where the industry can not only see itself, but also be challenged, encouraged, and inspired.

As we embark on our second trip around the sun, we invite your feedback and thoughts on what you’d like to see more of or what we’re missing.

Barrett Media is committed to making year two even more focused, engaging, and essential for professionals across the format spectrum.

Music Radio matters. We are here with you.

You have our sincere thanks for reading Barrett Media.

Reach out to me anytime. jeff@barrettmedia.com

Barrett Media produces daily content on the music, news, and sports media industries. Stay updated by signing up for our newsletters to receive the latest information directly in your inbox

Adult Contemporary Needs A Brand, Not Just a Playlist

Kevin Robinson
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Adult Contemporary Needs A Brand, Not Just a Playlist

There was a time—not that long ago—when every radio brand had a look and sound.  Disc Jockeys were recruited for their special sound, and we surrounded the shows with fantastic imaging.

Talent wore sharp suits, wild scarves, even goofy hats. Not just for fun, but because it meant something. When you saw the air talent team, you knew them and their brand.

They had style. And they had a presence. They had an identity.

Think in the Way-Back machine:

•           WMCA Good Guys – Harry Harrison was The Morning Mayor of New York City

•           Boss Radio Jocks – The Real Don Steele and his kinetic character energy

•           WLS Swinging Seven – Led by former colleague, The Wild I-talian Dick Biondi

You could spot the entire crew in a group photo and instantly connect them to the station.

Now, when you travel our country, Adult Contemporary brands typically present a homogenized, safe and unremarkable presentation.

Also, today, the visual branding identity has faded. Talent consistently appearing at events wearing station-branded apparel, holding a logo mic flag, or standing in front of a banner is increasingly rare.

The professional group photo for your lobby or social platforms? Virtually nonexistent.

Just because you’re in an Adult Contemporary format does not mean your brand needs to be placed in the background.

Radio once stood out as The Complete Package:

•           A consistent look – gear treated like a uniform

•           Memorable presentation – unique Aural Activators

•           Strong performance – upbeat, prepared talent

•           Dedicated coaching – consistent positive guidance

•           Custom imaging and jingles – every talent needs custom branding

These elements work together to build powerful brand recognition.

Even with limited funds, you can build your own Complete Package:

•           Think The WNBA – sell logos and sponsorships on your gear to help fund the uniform. The same goes for your station vehicles

•           Like Netflix’s Tudum or Intel’s Bong, create a signature sound that plants in every piece of imaging. After a few seasons, you won’t need audio to accompany your sound.  Simply the sound alone. SiriusXM’s Radio Margaritaville does this with a steel Drum piece

•           No need for a prep service when you have virtually everything at your Internet Keyboard. Sites like Refdesk.com and Songfacts.com will serve your talent well

•           Meet with your talent individually each week. Not simply an aircheck session, but for a personal connection. Have audio at the ready for examples. No audio logger? Get your brand to stream at DAR.FM and record audio logs for free

•           If custom jingles are not in the budget, at a minimum, have your voice talent record custom lines for talent in each daypart. Listeners mostly cannot recite talent outside of your Morning Show

Before we size up and critique our competition, evaluate how we’re showing up visually to the listener.

•           How is our talent representing our brand at events and appearances, and do they have the tools to make the look pop?

•           When people see us, do they know from the uniform look who we are?

The human brain has around seven slots of short-term memory at any given time. Your brain also has about 22 seconds before it decides to burn the short-term memory slots in a new brain file or discards those slots.

We need to create brand awareness that grabs a slot in that short-term memory with our sound AND our look.

Some say it’s a pipe dream in 2025. However, in the years to come, we dream of a drive through our country and hearing local radio stations filled with passion, true communication and vibrant life – the reason we were drawn to this business!

The real reason we are losing audience to other audio media is that our content between the records is remedial, station branding sound is not unique, we’re invisible on the street, and coaching is nearly non-existent.

We can’t afford to be forgettable.

Let’s focus on being remarkable.

Barrett Media produces daily content on the music, news, and sports media industries. Stay updated by signing up for our newsletters to receive the latest information directly in your inbox.

Understanding The News/Talk Radio Audience Is Key to Surviving in a Podcast World

Peter Thiele
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Understanding The News/Talk Radio Audience Is Key to Surviving in a Podcast World

The art of growing an audience is not based on a wide variety of people who have no common life experiences, values, and socioeconomic backgrounds. One of the challenges of the news/talk radio format is that it is sometimes tough to define who the target audience member is.

The program director may have a strong definition of that person, but unlike a music format, the content is generated by a group of people who may have diverse understandings of what the audience is.

Conservative people is not a target demographic if you really want a large audience. Certainly, over 50% of the people who voted for Donald Trump came from a wide swath of Americans. There were men, women, differing ages, differing races, diverse economic and educational backgrounds as well. Being the station of people who voted for Trump is not a winning strategy. How do I know? It is very simple, there are radio stations and radio shows built on this concept, and nobody has a 50 share.

Most news/talk stations that are focused on current events have 60% to 65% male listenership. I have heard hosts, general managers and sales managers lament this fact. I once had a host who was damned determined to change that narrative. He had a female news anchor and sidekick and was going to show me that I was wrong. The market manager didn’t want me to coach the show otherwise because of some issues in that cluster.

So, I let this experiment run the course of the book. When I received the results from the spring book, I asked the host how he felt the show did? Did he think that the new direction was working with listeners? The host went on and on about how much chemistry he had with the news anchor and sidekick. He said that he knew that the audience was growing.

Sadly, I told him that the audience hated it. He had a show that was 50/50 between men and women, but the male listeners disappeared, and the number of women didn’t grow at all. This host was shocked. I had to basically produce the show for the fall ratings period. By the way, I don’t like doing that. I want hosts to be creative and have fun.

Unfortunately, I couldn’t move on from the show and the host’s instincts were terrible. The Fall Book arrived and that very same host was just a decimal point away from a bonus. Lesson learned for that host.

What is your listener doing with their lives? What do they do for a living? Are they homeowners? Are they married? Kids? Hobbies? Your specific community has certain activities that may be endemic just to your area. What about the college or professional football teams? What about a baseball team? I don’t know. I do know that for my specific market Mizzou football, the Kansas City Chiefs, and the St. Louis Cardinals are a big honking deal. I also know that deer hunting is big. What is your audience up to? What are the kids up to? The spouse? Do you have a design for your person?

Radio is one one-on-one communication. It is about speaking to a specific individual. If you are speaking to a specific person, is it exclusionary? I certainly hope not. If you are a professional 50-year-old man who loves country music, that is great, but that format is not built to appeal to you. Country music is designed to appeal to younger, working-class women. News/talk radio is built to appeal to men. Certainly, there are women and all age groups that love news/talk radio, but the largest part of the audience belongs to men. If you are not focused on your ideal listener, you are dead.

Why is focusing on a specific listener so important? It comes down to this: the market is completely fragmented. There are so many choices that are not radio that your listeners can choose from at any moment in our connected car world. Visit YouTube. There is a channel focusing on tropical fish with 1.66 million subscribers. Photography channel with a half million subscribers. You can go down the line in your personal interests and find channels like that. Hugely successful and tightly targeted. The fish channel isn’t breaking down anything but aquarium stuff. Well, your focus should be on your station’s target listener only. This philosophy isn’t exclusionary at all.

A strong focus allows you to succeed. If your station speaks to multiple demographics, the station will not be speaking with anyone. Music stations have certain advantages because the music is the star. The content between songs is tightly controlled and is brief.

Your show or radio station must be very focused for traction with an audience in 2025. There are too many options that are too easy to access. If the radio station does not interest or entertain me, I have thousands of podcasts to choose from and personal playlists, not just other radio stations.

Focus delivers a consistent message in content that creates uniformity. Just like a rock station isn’t tossing in a Whitney Houston song to appeal to a different demographic that could be listening to their station, don’t do the same thing while discussing something totally out of demo.

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

Hubbard Radio Seattle Names Nick Beyer Vice President and Market Manager

BNM Staff
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Hubbard Radio Seattle Names Nick Beyer Vice President and Market Manager

Hubbard Radio Seattle has announced the appointment of Nick Beyer as its new Vice President and Market Manager.

A Seattle native, Beyer began his radio career at Hubbard Radio Seattle more than 20 years ago, when the company was still Sandusky Radio. Most recently, he’s worked in senior leadership roles at CRISTA Media and iHeartMedia Seattle.

“I’m incredibly honored to return to where it all began,” said Beyer. “Hubbard Radio Seattle is home, and I can’t wait to work with this amazing team to serve our listeners, clients, and community.”

“I believe Nick is the person to elevate our Seattle cluster to the next level,” added Hubbard President/Market Manager for Phoenix and Seattle, Trip Reeb. “I couldn’t be happier he’s back.”

A Washington State University graduate, Beyer will now oversee MOViN 92.5, 98.9 The Bull, Warm 106.9, KIXI 880 AM, KKNW 1150 AM, and the 2060 Digital Seattle office.

“We are thrilled to welcome Nick back into the Hubbard fold,” Hubbard Radio CEO Ginny Hubbard concluded.

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

Bruce Logan Named VP/PD for 100.3 The Bull, 95.7 The Spot Houston

BMM Staff
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Bruce Logan Named VP/PD for 100.3 The Bull, 95.7 The Spot Houston

Country Aircheck reports that Bruce Logan has rejoined Audacy as VP/Programming and PD for Country 100.3 The Bull and Variety Hits 95.7 The Spot in Houston.

Logan was most recently OM/PD for Hubbard West Palm Beach, where he oversaw New Country 103.1 and Classic Hits Sunny 107.9. He exited that role in March of this year. (BMM 4/9)

He previously spent five years with the Houston cluster under then Entercom.

Other stops for Logan include Regional Programming Manager at Clear Channel in Georgia, North Carolina, South Carolina and Virginia.

Congratulate Logan here.        

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

Dana White Hints at New UFC Rights Deal “Leveling Up”

BSM Staff
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Dana White Hints at New UFC Rights Deal “Leveling Up”

As the UFC continues to expand its global footprint, President Dana White says the organization’s next media rights deal could fundamentally change the way fans access the sport—potentially more than ever before.

Currently, the UFC and ESPN are in the final stages of a five-year, $1.5 billion deal for domestic broadcast rights that began in 2019, only to extend the agreement by two years in early 2019, adding pay-per-view streaming rights to the package. Bloomberg reported in June that the UFC is seeking a price tag of a billion dollars annually moving forward. Furthermore, when asked by Sports Business Journal how the talks were going with the agreement wrapping up this year, White said he’s happy with the discourse so far.

Speaking during a recent interview on the Full Send Podcast, White revealed that the company is actively engaged in negotiations for its next rights package, and while nothing is finalized, he hinted at a significant shift on the horizon.

“The world’s going to change a lot in the next year with our rights deals,” White said. “More than likely, we’re going to end up with a platform that is way more global than we are now.”

While White stopped short of revealing specific platforms or timelines, he confirmed the UFC is in the thick of discussions and that the current climate in media could allow for innovative possibilities.

“We’re in the middle of talks,” White said. “We’ll see how it plays out.”

In 2023, Endeavor, the UFC’s parent company, and WWE merged and the launch of TKO, a company that will combine the forces of the two global-powerhouse live-event and sports promoters. As part of the move, Endeavor owns 51% of the company and WWE shareholders will own 49% of it.

Regarding the negotiations, White was asked if the UFC could land on multiple platforms or explore unconventional streaming options. White didn’t hesitate to express his openness.

“Anything is possible,” he replied. “Every year that we’ve done a deal—starting from Spike TV to Fox, and then to ESPN—we’ve leveled up. Each move has made the sport bigger and reached more people.”

The broader context of the media industry appears to be heavily influencing the UFC’s next steps. As traditional television and satellite platforms continue to lose ground, White acknowledged that streaming giants are commanding attention—both from consumers and from UFC leadership.

“Television is dying quickly. Satellite’s dying quickly,” White said. “These streaming services like Netflix—their stock is higher than it’s ever been. They’re killing it.”

The UFC’s partnership with ESPN has been a landmark chapter for the brand, bringing wider visibility and elevating the sport’s profile in the United States. However, White seems to believe the next step could push UFC into new territory—especially internationally.

“The world’s going to change a lot when we do our next rights deal,” he said. “While we’re in this deal, the world will completely change by the time we come out the other side of it.”

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

FOX Sports 1 Cuts Ties With Joy Taylor, Cancels Speak, Breakfast Ball and The Facility

BSM Staff
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FOX Sports 1 Cuts Ties With Joy Taylor, Cancels Speak, Breakfast Ball and The Facility

Joy Taylor is out at FOX Sports as part of a significant shake-up that will see multiple programs, including FS1’s Speak, come to an end. According to a report from The Athletic, Taylor’s exit coincides with the cancellation of three underperforming studio shows: Speak, Breakfast Ball, and The Facility.

Sources told The Athletic that the shows failed to gain meaningful traction with audiences, which ultimately led to the decision to move in a different direction. Taylor, who had been with Fox Sports for nearly 10 years, co-hosted Speak alongside Keyshawn Johnson and Paul Pierce. Her contract expired and was not renewed.

This marks a dramatic shift in FS1’s daytime programming strategy. The canceled shows were all greenlit under the leadership of former top programming executive Charlie Dixon, who was ousted from the network earlier this year following serious misconduct allegations.

In one of two lawsuits against Dixon, a make-up artist claimed Taylor told her to “get over it” in reference to a reported incident of sexual battery. Taylor has denied the claim.

Breakfast Ball was hosted by Craig Carton, Mark Schlereth, and Danny Parkins. The show represented Carton’s second venture with the network after stepping away from WFAN’s afternoon drive two years ago.

Schlereth spoke to Barrett Media in late April about how Breakfast Ball was aiming for a different style of program that allows the audience a choice for sports on morning television.

“What we’re trying to present is an alternative. Something new, something fresh. Building a show and finding an audience it just takes time,” said Schlereth in late April. “I don’t feel pressure if we don’t make this happen, or if we don’t get a certain rating by this time. I just think of it more from the standpoint of let’s just keep getting together. Let’s just keep having fun, keep creating good content, and eventually my hope is that we find a large audience.”

While nothing official has been released from FOX Sports, there will be some speculation surrounding Carton’s next move, a return to WFAN appears to be a possibility.

Meanwhile, The Facility was a newer addition to FS1’s lineup, launching less than a year ago. The show featured a rotating panel of former NFL players, including Emmanuel Acho, Chase Daniel, James Jones, and LeSean McCoy.

FOX Sports has yet to issue an official comment on the changes, but The Herd with Colin Cowherd and First Things First featuring Nick Wright, Chris Broussard, and Kevin Wildes will remain in their current time slots. FS1 is expected to fill the vacated hours with new programming in the coming months, though no announcements have been made about what shows may replace the outgoing lineup.

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

Tucker Carlson: Dan Bongino Will Never Be Able to Go Back to His Podcast After Epstien Files Drama

BNM Staff
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Tucker Carlson: Dan Bongino Will Never Be Able to Go Back to His Podcast After Epstien Files Drama

Tucker Carlson says Dan Bongino may not be able to return to his podcast after the fallout from the Epstein Files controversy.

During a recent conversation on the Culture Apothecary podcast, Carlson painted a vivid picture of Bongino’s situation, calling it a “career wreck.”

He explained that Bongino had been thriving, running one of the country’s top podcasts, earning major revenue, and broadcasting from a new Florida studio.

Carlson said Bongino had been working with his wife and “having a great time” before he received the offer to become Deputy Director of the FBI. Despite the enormous pay cut and relocation to Washington D.C., Carlson said Bongino took the job out of love for Donald Trump and the United States.

However, the failure of the Trump administration to release the Jeffrey Epstein files, which many believe will expose child sex trafficking by some of the most prominent names in American and international society, has caused internal strife at the FBI and the Department of Justice.

Over the weekend, it was reported that Dan Bongino had threatened to resign if Attorney General Pam Bondi wasn’t fired for her failure to unveil the files.

Tucker Carlson argued that Bongino got “completely shafted” by giving up his popular podcast and nationally syndicated radio show to join the FBI, only to not be supported by those surrounding him.

“It kind of wrecks Dan’s career,” Carlson shared. “It’s going to be very hard for Dan to go back to his podcast audience and say, ‘I’m telling you the truth,’ when they all think that he’s covering up for Epstein.”

Carlson left a small door open, saying “Things may change,” but remained skeptical of Bongino’s ability to make a media comeback after just a high-profile situation.

Bongino has yet to respond publicly to any of the reporting surrounding his potential blowup with Bondi or threats of exiting the agency. He has also not addressed any of the Epstein-related allegations directly, other than to previously state that it was abundantly clear that the New York financier had died by suicide in 2019.

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

97.9 FM WGBW Hosts John Maino and Jim Schmitt Depart

BNM Staff
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97.9 FM WGBW Hosts John Maino and Jim Schmitt Depart

After a two-year run, Maino and the Mayor has ended its time on 97.9 FM WGBW in Green Bay.

The Civic Media-owned morning show paired longtime Green Bay broadcaster John Maino with former Green Bay Mayor Jim Schmitt.

The decision to cancel the program came shortly after Station Manager Todd Michaels stepped down. Michaels also produced the show and is leaving radio to begin a new career outside of the broadcasting industry.

“Ultimately, the best laid business plans sometimes don’t accomplish what we believe it will,” a statement from the station read. “This is not only a mission, it’s also a business. We’ll take some of that weight off of Jim and John. They can only do what they do.”

Maino addressed the show’s cancellation online, saying the decision was made by Civic Media and came in light of Michaels’ departure.

Maino, a fixture in Northeast Wisconsin media, and Schmitt, who served as mayor for 16 years, offered a unique blend of local insight and entertainment during the show’s run.

There’s no word yet on what will fill the morning slot on 97.9 FM WGBW. Civic Media is expected to announce updated programming plans in the coming weeks.

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

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