A longtime iHeartMedia programming veteran is now a free agent. Ryan Maddox has departed the company following recent workforce reductions.
What We Know: Maddox spent over two decades building his career inside iHeart. He began as a teenager at CHR 93.3 WFLZ Tampa. He later served as APD/MD and afternoon host at “Power 96.1″ WWPW Atlanta from 2014 to 2020. Most recently, he worked as a National Programming and Music & Playlist Curator, tracking stations including K-Pop “Pop 101.9” KUCD Honolulu.
What He Said: “Radio has been my life’s passion,” Maddox told RadioInsight. “I first stepped into a studio and caught the broadcasting bug when I was just 16 years old.” He added that over two decades, he had the privilege of driving programming, elevating talent, and connecting with audiences on a massive scale. Now, he says he is “incredibly energized” and actively seeking leadership or creative roles across radio, streaming, playlisting strategy, and label operations.
What Remains Unclear: His next destination has not yet been announced. No replacement has been named for his national curation role. Additionally, it remains unclear how iHeartMedia plans to absorb his playlist and programming responsibilities. The reduction leaves a notable gap in the company’s national music strategy.
What It Means: Maddox represents the kind of well-rounded programming talent that remains rare in today’s thinning radio landscape. His blend of on-air experience, music strategy, and national curation work makes him an attractive candidate. Meanwhile, iHeart continues shedding experienced voices — a trend that raises real questions about the future of localized and curated programming at scale.
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.
54 Scripps stations went dark from DirecTV Sunday night. Viewers in 36 markets woke up Monday without their local Scripps stations on air.
What We Know: Beginning at 7 p.m. ET on Sunday evening, DirecTV pulled all 54 Scripps Local Media stations across 36 Nielsen-designated markets. Affected cities include Baltimore, Cleveland, Denver, Detroit, Miami, Nashville, Phoenix, Tampa, and West Palm Beach, among others. Moreover, this isn’t Scripps’ first carriage battle of the year. The broadcaster also lost carriage on Comcast Xfinity starting April 1, darkening 40 stations across 19 markets for more than a month before resolution. Furthermore, DirecTV flagged that the blackout threatens viewer access to June primary elections, the NBA and NHL Finals on ABC, and the U.S. Open on NBC.
What They Said: Rob Thun, chief content officer at DirecTV: “We understand customers are frustrated by temporarily losing their usual access to Scripps stations and the local news, network programming, and live sports they provide. Unfortunately, Scripps is demanding the highest rates we have ever seen for programming that remains available for free over-the-air and through many station, network, and third-party streaming apps. We remain committed to protecting customers from indiscriminate and unnecessary cost increases for less popular programming. While still working to restore the stations that many viewers rely on.”
Scripps Statement: “Scripps remains committed to reaching a fair resolution that restores our local stations to DirecTV’s paying subscribers. At stake is our viewers’ fundamental access to trusted local journalism, critical weather alerts, emergency information and live sports programming that strengthens community bonds – all essential public interest content in which Scripps invests substantially every day.”
What Remains Unclear: No timeline for resolution has emerged yet. Additionally, it’s worth noting Scripps claims this marks only the second time in its history — dating back to 1947 — that its stations have gone dark with a pay-TV distributor, with the first being the Comcast dispute in April. However, what specific rate gap separates both parties remains undisclosed.
What It Means: Consequently, this standoff signals a hardening posture from broadcasters demanding higher retransmission fees from shrinking pay-TV providers. Consequently, DirecTV subscribers bear the cost of a negotiation neither side appears close to finishing. For the broadcast industry, the pattern is troubling. Two major Scripps blackouts in under two months suggests carriage disputes are accelerating, not fading.
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The Tennessee Titans will induct late assistant coach and radio analyst Dave McGinnis into their Ring of Honor this fall. McGinnis passed away in April and will become the franchise’s 20th honoree.
What We Know: McGinnis built a deep connection with the Titans organization spanning more than two decades. He first joined as a linebackers coach on Jeff Fisher’s staff in 2004, serving through 2011. After a stint with the Rams from 2012–2016, he returned to Nashville and joined Titans Radio in 2017 as gameday color analyst. He held that role through the 2025 season alongside play-by-play voices Mike Keith and Taylor Zarzour. Following his passing, the team named 104.5 The Zone morning show co-host Ramon Foster will take McGinnis’ place in the Titans radio booth beginning next season.
What They Said: Titans controlling owner Amy Adams Strunk: “Coach Mac represented the best of us. His selflessness, passion for the game, and ability to bring out the best in others truly embodied what it means to be a Tennessee Titan. From his time on the field as a coach, to the moments he narrated in the radio booth, his contributions to our organization are immeasurable. We are honored to induct him into the Titans Ring of Honor this season.”
What Remains Unclear: The team has not yet announced a specific date for the induction ceremony. Additionally, details about any planned tribute surrounding the broadcast booth remain unconfirmed.
What It Means: McGinnis leaves behind a legacy that transcends both the sideline and the broadcast booth. Moreover, his induction honors a career defined by service, football knowledge, and genuine connection with fans. Furthermore, it reflects how the Titans value contributors beyond just playing careers.
Former @Titans coach, @TitansRadio analyst Dave McGinnis to be inducted into franchise’s Ring of Honor.
“His selflessness, passion for the game, and ability to bring out the best in others truly embodied what it means to be a Tennessee Titan.”
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NBC News anchor Kristen Welker is set to launch a new franchise off the back of one of her segments on Meet the Press.
What We Know: Meet the Press moderator Kristen Welker is hosting a first-ever live event. On Monday, June 29th, Welker will be joined by Taraji P. Henson for Meet the Moment LIVE. “Meet the Moment” is a segment in Meet the Press created when Welker took over the show in 2023. Tickets for the event begin at $238.80.
What They Said: “The creation of ‘Meet the Moment’ was born from the idea that some of the most important stories shaping our country are happening outside of Washington. The segment has become a defining part of my time as moderator of Meet the Press because it expands the conversation beyond politics while staying true to the show’s tradition of substantive, meaningful interviews. I am thrilled to bring the franchise to a live audience and to have our first-ever live event with Taraji P. Henson, whose advocacy and personal story embody exactly what these conversations are all about.” -Kristen Welker
What Remains Unclear: Who will participate in further events similar to this one. It is also unclear how long the first event will be.
What It Means: The move marks another live event expansion for NBC News. It also shows the importance of the long-form conversation on Meet the Press. It highlights the diverse ways those conversations can be hatched and utilized.
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More recently than I can recall, there have been calls for full transparency. Allowing every minor detail of a situation to become public because the listening audience deserves answers. We’ve seen this in politics, business, and now in sports media more than I can ever remember. Because of the relationship and investment an audience gives to a talent or show, there’s pressure for every crumb of information to be revealed.
But does every audience need full transparency? Especially in an era where nothing is black and white and the truth often lies in the gray area? After all, the gray area has never truly contained the truth, the whole truth, and nothing but the truth. With that said, why isn’t it acceptable any longer to simply accept and move on? Why do talents place such a burden on themselves for full transparency with the audience when the mystery is often more valuable than the information itself?
The reason I ask this is because Dan Le Batard and Jon “Stugotz” Weiner have resurfaced their ongoing struggle with their own divorce. Make no mistake about it: this was a divorce. Marriage is a decision to enter into a business transaction with another person. Divorce is the act of removing yourself from the business you once agreed to share.
Since Meadowlark Media extended its sponsorship agreement with DraftKings last May, Stugotz began his independent journey. His God Bless Football and Stupodity properties went independent, and he created Stugotz & Company as a third independent project. In August, Stugotz secured his own partnership agreement with FanDuel, a direct rival of DraftKings. He also signed with FOX Sports Radio to expand the reach of Stugotz & Company through a nationwide traditional outlet.
The divorce was well underway from Stugotz’s point of view.
Difference in Approach
However, during the time Stugotz was navigating his own path, there were calls for answers from the Le Batard audience. To their credit, both Le Batard and Stugotz attempted to address the issue independently.
Le Batard explained that Stugotz wanted an opportunity to create his own content and said he supported the move.
Stugotz, however, added more transparency to the split. He pointed the finger at Le Batard and fellow Meadowlark Media talent David Samson in May of last year for God Bless Football not remaining under the DraftKings sponsorship. Then, in December, while announcing his role with FOX Sports Radio, he teased a slate of nine appearances on The Dan Le Batard Show with Stugotz while adding a caveat that if they didn’t happen, listeners should blame Dan Le Batard and Meadowlark Media.
If you’ve been reading the tea leaves over the past year, you get the sense that this is, unfortunately, what happens when business gets in the way of personal relationships.
DraftKings didn’t retain their sponsorship of God Bless Football, yet added more assets to David Samson’s program instead. Would it be fair to say that Le Batard made a call without consulting his longtime co-host to retain sponsorship money which is needed to continue building on what Meadowlark Media has become?
After all, Stugotz may be the second largest shareholder with the company. But even he continues to say it’s “Dan’s company.”
Owing the Audience?
Regardless, why not leave the transparency at that? Respect the history of the program and the strides both have made independently, then move your separate ways. Maybe after some time, you do a series of events together on South Beach or at a Miami Heat game.
However, both continue to drag this on in their own unique way despite the continued growth they are achieving separately.
Le Batard and Stugotz are not the first sports radio duo to engage in a public divorce like this. Mike Francesa and Chris “Mad Dog” Russo. Mike Greenberg and Mike Golic. Fred Toucher and Rich Shertenlieb. These are just a few examples. But was there this same effort to provide full transparency for the audience with any of those divorces?
No, and there doesn’t need to be for Le Batard and Stugotz.
The audience that spent two decades supporting The Dan Le Batard Show with Stugotz doesn’t need a detailed accounting of every disagreement, contract negotiation, or hurt feeling that contributed to this split.
They already know enough.
They watched the partnership evolve, heard the tension surface, and have seen both men choose different professional paths.
Strength in Moving On
Not every ending requires a documentary. Not every business separation demands a public deposition. Sometimes the audience is best served by remembering what made the relationship special rather than spending years dissecting what ultimately broke it apart.
No one debates what led to the divorces of the other shows listed above any longer.
Without question, Le Batard and Stugotz built one of sports media’s most influential and entertaining partnerships. That legacy isn’t strengthened by endless vague explanations that they continue to provide, nor is it diminished by unanswered questions.
Instead of attempting to arrange a reunion in the public eye, it does neither of them any favors to publicly negotiate it with the audience. If it means so much to both parties to make the event happen, work it out behind the scenes and let the audience know when you’ve reached a conclusion.
Otherwise, dragging out the conflict in public between personal relationships and business interests only damages the legacy they built together. It also pulls both properties away from the reason audiences continue to tune in today by focusing on the past instead of serving the audience in the present.
The longtime audience doesn’t need full transparency to understand what’s happened. They only need the perspective to appreciate what was created, the maturity to accept that things change, and the ability to move forward.
That’s the most transparent thing both Le Batard and Stugotz can do together.
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.
The media industry loves a savior story. Bari Weiss and Chris Licht both starred in one — and if history tells us anything, that story rarely ends well for the savior.
Licht arrived at CNN in 2022 with a mandate from David Zaslav to fix a network that had, in the eyes of its new ownership, drifted from its core mission and fallen on hard times. Weiss arrived at CBS News under similar circumstances, brought in by Shari and David Ellison to shake up a legacy institution they believed had lost its way. Both came as outsiders. Both came with big ideas. And both, notably, came without deep roots in the cultures they were hired to transform.
The parallels don’t stop there, either. Licht made sweeping programming changes almost immediately. He canceled shows, reshuffled talent, and tried to pivot CNN toward what he described as a more balanced, down-the-middle approach to news. Weiss has done much the same at CBS News — reshaping the editorial vision, cutting loose familiar voices, and attempting to recreate the network in her own image. The intention, in both cases, was bold. The execution, however, is where things get complicated.
A Vision in Search of an Audience
Here’s the problem Licht ran into: what Zaslav wanted CNN to be and what was actually attainable — let alone profitable — at that moment in cable news history were two very different things. Zaslav envisioned a CNN that appealed to a broader, more politically heterogeneous audience. But CNN’s viewers had tuned in for a specific reason. Asking them to accept a fundamentally different product was always going to be a tough sell, and ultimately, it didn’t work.
Weiss faces a strikingly similar tension. CBS News carries decades of institutional identity — a legacy audience that expects a certain kind of journalism. What Weiss wants CBS News to be runs somewhat counterintuitive to those expectations. She’s an ideological disruptor by nature, and that’s precisely why the Ellisons hired her. But disruption isn’t always a ratings strategy. It isn’t always a business strategy, either.
Licht’s CNN experiment lasted just over a year before Zaslav showed him the door. The network’s struggles didn’t end with Licht’s departure, of course — they continued. But Licht became the convenient scapegoat for a plan that was flawed from the start. Zaslav didn’t fall on the sword. Licht did.
Will the Ellisons Let History Repeat Itself?
That brings us to the uncomfortable question no one in the industry seems eager to ask out loud: if Weiss’s reinvention of CBS News stalls — or worse, accelerates the network’s decline — who takes the blame?
Don’t count on the Ellisons to be the ones who fall on the sword. Ownership rarely does. What typically happens is this: the bold hire becomes the bold exit, framed publicly as a “creative difference” or a “strategic pivot.” The executive absorbs the narrative. The owners move on to the next plan.
Licht tried. He genuinely tried, by most accounts. But trying isn’t enough when the fundamental premise of the mission is at odds with market reality. Weiss is trying, too. She’s smart, she’s driven, and she clearly believes in what she’s building. Yet belief alone doesn’t fill a newsroom with the right talent, rebuild audience trust, or reverse structural decline in a legacy cable news environment.
So, will Weiss’s fate match Licht’s? Will she ultimately become the fall guy for the Ellisons’ vision — a vision that may prove just as disconnected from reality as Zaslav’s was? Only time will tell. But this playbook isn’t new. We’ve seen it before. And the people who tend to survive it aren’t the ones doing the heavy lifting.
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The month before a conference my brain pulls me in a million directions. I have to consult clients, manage day-to-day publishing needs, and nail down our final speakers, sessions, and sponsorships. Then comes announcing the final agenda, connecting speakers, and building the creative for the Summit. There’s no giant production crew pulling this off. It’s Stephanie Eads, Dylan Barrett, Andy Drake and I with additional contributions from our editors and videographer Travis Williams.
Steph doesn’t love this part of the event because she has to field questions about topics, schedules, and attendees while securing sponsors and ordering items needed for the show. I remind her often, we do a ton for our partners, speakers, and attendees. If the one thing we can’t do is give them months of lead time to know who’s in the room to connect with, they’ll be fine. The priority is bringing the right people into the room and delivering a great experience. If we do that, people are happy. If we don’t, nobody will care if they knew the attendees list or agenda one-month or three-months in advance.
Having said that, I’m planning to release the full agenda sometime this week. I’m just waiting on a few final things to be settled. After that’s done, I’ll start connecting groups by email to allow time for planning. This year’s Summit is going to be special. I’m extremely excited about what we’ve assembled. Hopefully you’re making plans to join us in New York City June 30-July 2. Tickets can be purchased here.
I start really thinking deeper about the show when we’re four-weeks out. Assembling an all-star cast for a Summit is fun, but I feel a responsibility to the professionals who leave their office for 1, 2 or 3 days. I want them to learn something and leave NYC feeling that it was worth it. I’ve said it many times, the industry benefits when accomplished people share ideas, information, and insight honestly. Forming and extending relationships goes a long way too. Every minute of every session between 9a and 5p matters, and if we get it right, that makes the after parties much more enjoyable.
But there’s one part of this process that frustrates me. Many talk about getting better and how good they’re doing, but never step foot into the room. They don’t go to other industry shows either. I’m not talking about the person who had a pre-planned vacation and can’t make it. Or the professional who has another work commitment or has to run multiple brands due to recent changes. Those are understandable. More times than not, those folks make it to the next show.
No, I’m talking about the individual who only goes back and forth between work and home and occasionally attends the local station event or business dinner. They talk about innovating and how their market and company operates at a higher level but they’re using the same playbook from 2006 or 2016. They’re comfortable in their bubble but when the bubble bursts, they’re lost. They’ll go right back to seeking the next job, offering to do the same thing they just did without learning from the experience. They don’t invest in themselves or in finding new ways to grow.
How can you help others win or advance their careers if you’re not doing it for yourself? Our industry is rapidly changing. Much of what we covered at the first Summit in 2018 is outdated now in 2026. 2027 will be even more complex than 2026.
In the past few years, ratings credit changed from 5-minutes to 3-minutes, and new entrants entered the space. Some companies are not even using the system that has defined past success. How can one group claim victory now in a market if the other side doesn’t play the game? Furthermore, how do you explain audience impact when podcasting data, social media analytics, and video views tell different stories? I’ve had the benefit of looking at measurement data and analysis tools from overseas that are fantastic. When new technology starts catching on here, how many reading this will be ready?
Many are on top of things but plenty still don’t understand what’s happening to social media content promotion. Algorithms are crushing your reach and engagement, yet many are posting like it’s 2019. Search is being dismantled, yet some brands will create written content today and promote it across X and Facebook, unaware of whether or not anyone sees it. AI arrived in the past few years, and some have used it to write imaging or create photos, but how many use it for market research, production, social media scheduling, revenue generation or newsletter building and strategy? As programmatic advertising gets hurt due to websites experiencing a decline in traffic, what’s Plan B? More importantly, how are you finding talent and incentivizing them to stay in traditional media when they can earn a living without you?
As a business owner myself, I can’t afford to be complacent. From the time I wake up until the time I shut my eyes, I’m thinking about how we can stay ahead. I’m not just a former sports radio program director, I’m a media business leader who has built an independent business that has created influence, impact, content, relationships, and revenue. I don’t say that to brag, I point it out because it’s a big part of why we host this conference. Growth must be a constant focus in your professional life if you want to do this well for an extended period of time.
I’m not suggesting I have it all figured out. I don’t. It’s why I invite 80+ people across all companies, markets and formats to join us and share their wisdom and experiences. The fact that some media folks won’t attend or even respond to a free-ticket invitation is disappointing but not unexpected. John Mamola, Jim Ryan, Ray Stevens and I discussed the recent surge of veteran radio talent and programmers retiring, exiting or being let go on last week’s 4-Cast. Economics are a factor, of course. However, do you not think that some companies see certain employees being perfect for a prior business model and not for the present or future?
I don’t want to get left behind. I don’t want you to either. So let’s help each other. I’ll do the heavy lifting and create an event that unites the sharpest professionals across the media industry. You simply show up, learn and apply what you gained to help your employer. Fair enough?
Summit Sponsorships
We are four weeks and one day away from the 2026 Barrett Media Audio Summit. I’m pleased to welcome Audacy as a partner of this year’s show. With their addition, the Summit now has support from 26 partners. Thank you to each group that has signed on to be a part of the conference.
With this being a three-day conference with a focus on news, sports, and music, we have more than usual to offer. Six or seven opportunities are still available. We’d love to finish strong with help from a few additional companies. Involve your business in the media industry event of the summer by contacting Stephanie Eads at Stephanie@BarrettMedia.com. Sponsorships are available until June 19th. After that we are shutting everything down to focus on preparation and execution.
Summit Ticket Winners
We sent out four email blasts and social posts last week to giveaway some tickets to the show. I thought we’d get 10-20 entries and expected to give away 5-6 tickets. Over 75 poured in so I’m being extra generous hooking up 35 people. Thank you to all who expressed interest. Below are the winners. Each has a ticket to attend the 2026 Barrett Media Audio Summit presented by Point to Point Marketing.
Sports: Marissa Rives, SiriusXM, Kevin Graham, Locked On, Rick Rubin, Audacy New York, Zach Bye, Denver Sports, Allen Stiles, Sactown Sports, Jake Duhaime, Maxx MGMT, Jim Irizarry, Mid-West Family, Tim Statskiewicz, Beasley Media Boston, Gary Sarner, ROI360+, Cierra Clark, SEC Unfiltered, Mark Moses, 95.9 The Rocket, and Shukri Wrights, 97.5 The Fanatic.
News:Dustin Gervais, recently of CBS News Radio, Tom Tradup, Salem Media, Buck Burnett, KKOB, Sam Gagliardi, Townsquare Media, Michael Demarest, Salem Media, Al Gatullo, Salem Media, Marc Zallis, Beasley Media Group, Jack Pagano, Tampa Post, Sergio Sanchez, News Talk 710 KURV and Jen Austin, Riply.
Music: David Moore, Hubbard Radio Phoenix, Jerry Lembo, Lembo Entertainment, Matt Ryan, 94.3 The Point, Codie Allen, Q104, Cat Thomas, SonicTrek.ai, Angel Jarquin, iHeartmedia, Morgan Prue, Manchester Media Group, Mike Danger, Audacy Rochester, Susan Browning, Audacy New York, Joe Nolan, WLNG, Grace Agostino, Nueva Network, Mark Elliott, Local Radio Networks, and Andrew Curran, DMR Interactive.
Events like this don’t work without partners and professionals buying tickets, but I want as many industry people in the room as possible. If you didn’t win, you can still join us. Purchase tickets here or through the Summit section up top. If budget is an issue, contact iMar Entertainment to explore barter options to reduce costs.
I will be running a contest this week for artist managers, label leaders, and music industry pros to attend our music conference. If any labels have interest in supplying an artist for entertainment at the after party on Thursday, July 2nd, I’m open to suggestions. We’ll have a lot of programmers, talent and decision makers in attendance. Reach out by email at Jason@BarrettMedia.com.
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.
To play music or not to play music — that is the question. It is probably the most debated topic in morning radio, and every programmer reading it will have an opinion immediately. Shakespeare may not have had terrestrial radio in mind, but the dilemma is just as timeless. There is no universal answer, and the conversation never really gets old.
The core of the story is not really about music. It is about expectation management and station identity.
The real tension lives between talent who believe momentum comes from conversation, chemistry, and emotional connection, programmers who fear losing TSL if the station stops delivering songs, and listeners who say contradictory things in research.
A strong opening might revolve around the classic industry line: “If you don’t have a great morning show, go with a more music morning show.” Then challenge whether that advice still holds up. Listeners already have unlimited music options. Personality has become a premium product again. But familiarity and pacing still matter enormously in terrestrial radio.
There are really three versions of morning radio now.
The “Couple of Songs” Show
This is probably the modern mainstream model. Shows like this still use music as reset buttons, pacing tools, emotional transitions, and branding reinforcement. The music keeps the station feeling like a radio station instead of a podcast feed. That is especially important in formats where the music itself still carries emotional equity — Country, Classic Rock, AC, Hot AC, and Classic Hits.
The argument here is that songs create rhythm and familiarity. They also buy time for contests, traffic, commercials, and production resets. Sometimes a two-song sweep actually improves a show. Listeners mentally process the break before returning.
The “No Songs At All” Philosophy
This is the Howard Stern influence on modern radio. Long-form content became the attraction itself. Once an audience is fully invested in personalities, music can actually feel disruptive. Songs interrupt momentum. Breaks become chapters. Listeners are there specifically for the hosts.
That strategy works best when the talent is truly elite, the content is highly habit-forming, the station brand supports it, and management trusts the show enough to let it breathe.
But there is danger in this model. A mediocre content-heavy morning show becomes exhausting quickly. Without music resets, pacing problems become obvious. Weak content gets exposed faster. That is why many stations historically hid weaker talent behind “more music.”
The “More Music” Morning Show
This is where the conversation gets really interesting, because the industry often treats this like a fallback strategy. But sometimes it is the smartest strategy.
A more music morning show can work extremely well when the station positioning is music-first, the format depends on mood and flow, the station lacks major-market personality talent, or the audience simply wants companionship instead of comedy.
There is also a PPM reality worth discussing. Long breaks can create tune-out if the content is not immediately compelling. That does not mean shorter is always better. It means content has to justify its length.
Obsessed With the Quarter Hour
Programmers became obsessed with quarter-hours, break length, meter movement, and minimizing tune-out. That pushed many stations toward shorter, tighter breaks and more music positioning. Then podcasting changed listener expectations again. Suddenly people were willing to sit through 20-minute conversations — if they cared about the people talking. That is the contradiction modern radio still struggles with.
The strongest closing thought might be this: The real question is not whether a morning show should play music. The real question is whether the content is strong enough to earn the right not to.
That is probably the heart of the entire conversation. The answer changes market to market, format to format, talent to talent, and era to era. A CHR station in Miami has different expectations than a Classic Rock station in Kansas City. A heritage show gets more freedom than a brand-new one. A personality-driven station can stretch longer than a jukebox-style brand.
There probably is not one right answer. But there is one wrong answer — building a show without understanding why listeners came there in the first place.
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.
Sometimes things work out perfectly. This column about Classic Rock/Hits posts on the exact day of Townsquare Media Classic Rock WPDH/Poughkeepsie’s actual 50th birthday as a Rock station. On this day in 1976 the station abandoned country music to become an Album Oriented Rock station serving the Hudson Valley.
To get the full scoop on how the station is celebrating half a century of Rock, I spoke with Joe Limardi. He is the Townsquare Media Classic Rock Format Lead and WPDH Brand Manager. Limardi shared what the station has planned, and the list of festivities does not disappoint.
On the air, it kicked off Memorial Day weekend with the history of PDH from A to Z. The station played every song in the library worthy of a spin, in alphabetical order. Ironically, Limardi did this feature for the first time ten years ago. “I did this for the 40th and at that time I said, ‘I’m sure I won’t be here for the 50th.’ Well, be careful what you wish for.”
WPDH Kicks Off 50th With an A-to-Z Rock Marathon
He says the A-to-Z list is extensive because of the different eras of the station’s history. Signing on in 1976 meant a lot of sixties music aired in the beginning. Then in the eighties, the station was hit-focused and hair bands dominated. “You’d hear Bon Jovi or Def Leppard or Ozzy and artist separation didn’t exist,” Limardi says. “That’s where the perception that WPDH was a big hair station came from and now listeners expect it.”
Off-air the celebration started a few weeks earlier with a dinner for station clients and airstaff. The evening included tables full of memorabilia including T-shirts, hats, and bumper stickers along with some surprises. “I had forgot we did Boris and Robin show comic books,” Limardi recalls. They also displayed the giant hunk of a tree a winner carved the call letters into. It was from a “Show Us Your PDH” promotion.
The next phase comes up over the weekend of June 6th and 7th, the station invited hosts from across its history back to guest on the air. The response, according to Limardi, has been overwhelming. “It was supposed to run Saturday and Sunday with everyone getting an hour. But so many people said yes it will probably have to start on Friday.”
Then comes the return of an old WPDH tradition, a roof-a-thon. This goes back to the days when the station’s morning show used to camp on the roof of a convenience store and collect money for charity. That weekend will wrap up with a concert at a legendary venue called The Chance. “It’s a theater where WPDH hosted a ton of shows but sadly it’s been closed for probably five years.” But Limardi won’t let that stop him. “They’re reopening for one night only to do a last chance at the Chance WPDH anniversary concert with several tribute bands. It’s our way of paying tribute to The Chance and to WPDH.”
Motorcycle Giveaway, Bethel Woods Concert, and a Revived Eagle Logo
The celebration will roll on all summer with the giveaway of a 50th anniversary motorcycle. It will wrap in the fall with a concert at Bethel Woods Center for the Arts. The Classic Rock act performing has yet to be announced. The WPDH team also revived the station’s iconic Eagle logo with a special 2026 glow-up and is selling merch that Limardi describes as “flying off the shelves.”
This is a gigantic, well-planned celebration. But when it comes to anniversaries, some programmers worry. Highlighting a station’s longevity can make it sound dated and risk making listeners feel their age. Limardi, of course, sees it differently.
“I don’t think of this as sounding old. It’s a celebration. We’ve planted our flag in Rock for the Hudson Valley for 50 years and that’s an accomplishment,” he says. “Not many brands can say they’ve been around for 50 years consistently the way we have.”
Joe Limardi Reminds His Staff They Are the Stewards of WPDH
Plus, he’s not only honoring the past. Limardi says he’s also looking to the future and, most importantly, enjoying this moment. It’s a sentiment he conveyed at a staff meeting. “I reminded the staff they’ve been given an incredible opportunity. For 50 years, people have been turning on this microphone saying WPDH. Not many people get to do that,” said Limardi. “What I’m trying to make them feel is that they are the keepers of this flame right now. They are the stewards of WPDH in 2026. And if we do it right WPDH is going to go on long after we’re 50 years old, so I want everyone to sound proud.”
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Every summer needs an anthem. The song that blasts from car windows, drowns out beach crowds, and ends up playing on repeat long after Labor Day.
I asked radio programmers at some of the country’s biggest stations to name their contenders for Song of the Summer 2026. Here’s what they said.
The Pop Contenders, Per iHeartMedia’s Dan Hunt
Dan Hunt, Program Director at iHeartMedia, kept his picks short and pointed. His three pop contenders are Tame Impala and Jenni’s “Dracula,” Olivia Rodrigo’s “Drop Dead,” and PinkPantheress and Zara Larsson’s “Stateside.” It’s a compact list — but each track carries real weight heading into the warmer months.
Pup Dawg’s East Coast Read: Weather Plays a Role
DJ Pup Dawg of JAMN 94.5 Boston offered the most candid take of the group. He’s keeping a close eye on French Montana’s “Ever Since You Left Me.” “That’s just a fun record,” he said. He also sees Bruno Mars’ “I Just Might” as a potential comeback story.
On Drake’s latest project, Pup Dawg was skeptical. “I don’t really see a Summer banger … like all year long, kind of deal,” he said. He called “Good Flirts” a slow creeper — the kind of song that takes time to reveal itself. For Boston listeners, he noted, climate matters. “When the weather cracks, that record’s gonna connect here,” he explained. “The weather plays a big play on music for us here.”
His final verdict? French Montana takes it. “If I had to choose, I’ll probably say that one’s not going to go away.”
Hot Girl Summer: Molly Cruz’s Top 3
Molly Cruz, Audacy’s CHR Format VP and Brand Manager at B96 Chicago, came ready with a theme. “It’s a Hot Girl Summer, for me,” she said. Her top three contenders: Ella Langley’s “Choosin’ Texas,” Olivia Rodrigo’s “Drop Dead,” and Zara Larsson’s “Midnight Sun.” Cruz was direct about the last pick: “I want Zara Larsson to win so bad.”
Erik Bradley’s Bold Call: Grammy Bound?
Erik Bradley, Audacy Brand Manager of too many stations to name, had the most expansive list of the group — and the most confident hot take. “In general, for me that’s ‘Choosin’ Texas’,” he said. He went further: “I can’t see how it’s not Song of the Year at the Grammy’s next year.” That’s a big swing for a song still finding its national footing.
Beyond Ella Langley, Bradley’s list runs deep. He mentioned Bruno Mars’ “I Just Might,” sombr’s “homewrecker,” and multiple Zara Larsson cuts. “‘Stateside’ and ‘Midnight Sun’ have solidified” Larsson’s superstar status this year, he said. He also threw in a curveball: Justin Bieber and Nicki Minaj’s “Beauty & A Beat.” The song is years old, but Bieber’s Coachella return sparked a long tail of renewed interest. Bradley argued it belongs in the conversation.
Among his personal favorites, Bradley added Justin Bieber’s “Speed Demon” and hyped the new Ariana Grande single “Hate That I Made You Love Me” that dropped on Friday. “It’s incredible,” he said. He also has high hopes for Olivia Rodrigo’s album. “‘Drop Dead’ feels like another one that will eventually be on her future greatest hits album.”
Trevor Morini Knew Instantly — And He’s Still Certain
Trevor Morini, SVP of Programming at iHeartMedia Charlotte and Raleigh, didn’t need long to make up his mind. “Within the first 45 seconds of hearing Olivia Rodrigo’s ‘Drop Dead’ I called that as the song of the summer,” he said. His confidence hasn’t wavered — it’s still his top pick.
Morini also sees this as Zara Larsson’s summer to own. He cited both “Midnight Sun” and her “Stateside” collab with PinkPantheress as strong contenders. “It’s also the summer of Zara Larsson,” he said flatly.
On the bubbling-up front, he pointed to Ella Langley’s crossover push. “Ella Langley has been huge at country radio for a minute now, and she’s breaking through at CHR, similar to Morgan Wallen a few years ago,” he said. His read on the data is simple: “There’s a point where all the data is undeniable.”
Will Calder: The Monoculture Is Gone — Watch for Overlap
Will Calder, longtime programmer and DJ, who is currently “on the beach”, offered the most contrarian frame of the group. He’s not sure the traditional Song of the Summer even exists anymore. “I think our world is too fragmented to call right now,” he said. “The old monoculture version of ‘Song of Summer’ is basically gone. TikTok, streaming, radio, nightlife, and real life do not always agree anymore.” His method: watch for overlap, not just chart ranks.
His most-heard artist across different circles right now is Olivia Dean. “So Easy (To Fall In Love)” hitting No. 1 at Top 40 validates her moment, he said — but he has doubts about its timing. The song may already be a consensus record carrying into summer rather than a fresh breakout. He also noted it doesn’t carry the obvious sonic markers people usually associate with a summer anthem.
On paper, he sees “Stateside” by PinkPantheress and Zara Larsson as the cleanest case in the field: Top 3 Pop, No. 1 Rhythmic, still climbing, and sitting inside the Top 30 on Spotify USA. He’s also watching Don Toliver’s “E85” and Malcolm Todd’s “Earrings” as tracks worth following.
But he’s not ready to crown anyone. “If there is going to be one true Song of Summer in 2026, I don’t think it has fully raised its hand yet,” he said.
The Verdict: One Song, or a Fragmented Summer?
Six programmers in, and two schools of thought are emerging. Most of the group points to a clear frontrunner. Olivia Rodrigo’s “Drop Dead” is on nearly every list — Morini called it in 45 seconds, Hunt named it from the jump, Cruz put it in her top three, and Bradley sees a future greatest hits track. That’s rare agreement across major markets.
Zara Larsson keeps showing up no matter who you ask. “Stateside” and “Midnight Sun” have collectively landed on five separate lists. Ella Langley’s crossover from country to CHR has the data behind it — and both Bradley and Morini say it’s undeniable.
But Calder’s warning hangs over all of it. The playlist era has splintered the summer soundtrack. There may not be one song — there may be six, each winning a different corner of the culture.
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.
