Home Blog Page 6

AI Agents Now Execute Audio Buys. Here’s Why It Matters.

David Hill
-
0
AI Agents Now Execute Audio Buys. Here’s Why It Matters.

Butler/Till and iHeartMedia just closed the advertising industry’s first agentic streaming audio campaign. This marks the first time AI-powered systems executed premium audio inventory purchases.

What We Know Butler/Till launched the inaugural agentic media buy for a U.S. agricultural solutions company. The AI-driven campaign delivered streaming audio 42 percent more efficiently than traditional direct buying methods. Additionally, the agentic approach placed 48 percent of podcast impressions in premium mid-roll slots versus 33 percent in the traditional plan. Meanwhile, iHeartMedia plans to expand agentic buying to broadcast radio later this year.

What They Said “We’re constantly exploring new opportunities for brands to connect with audiences at scale and pioneering new ways to modernize audio advertising, making it more accessible, efficient and effective,” said Lisa Coffey, Chief Business Officer for iHeartMedia. “This industry-first agentic campaign demonstrates how AI can help create a more dynamic and efficient marketplace while maintaining quality and accountability our partners expect from iHeart.”

What Remains Unclear Key questions persist about broader adoption across the agency and network landscape. Furthermore, industry standards for agentic buying governance remain undefined at this stage. Yet the potential impact on traditional media workflows could fundamentally reshape team operations. Also unclear: how quickly competitors will introduce competing agentic solutions.

What It Means Agentic media buying signals the next evolution in advertising technology evolution. Instead of following preset workflows, AI agents now evaluate campaign objectives dynamically within defined parameters. Consequently, advertisers gain faster optimization and real-time responsiveness without sacrificing strategic control. Ultimately, this approach combines machine speed with human judgment.

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.

KSEV Pairing Craig Collins, Wayne Dolcefino in Morning Drive

Garrett Searight
-
0
KSEV Pairing Craig Collins, Wayne Dolcefino in Morning Drive

KSEV is moving Craig Collins and Wayne Dolcefino into morning drive as Chris Salcedo prepares to leave the station. Collins will lead the weekday show, with Dolcefino joining twice a week.

What We Know: KSEV will debut KSEV Mornings with Craig Collins and Wayne Dolcefino from 7-9 AM on weekdays. Collins will move from evenings to morning drive and host the program solo three days each week. Meanwhile, Dolcefino will join the show two days per week as a co-host and contributor. The veteran journalist spent 27 years as the lead investigator for ABC 13’s investigative unit in Houston. His career includes extensive coverage of Houston government, politics, public spending, and corruption. Collins also brings experience from WGN Radio in Chicago, 93 WIBC in Indianapolis, and national guest-hosting roles.

What’s At Stake: The move gives KSEV an opportunity to reshape its morning programming around Houston and Texas news. Salcedo has hosted mornings for 14 years, making his departure a significant change for the station. However, Collins and Dolcefino could offer different strengths as KSEV emphasizes a Texas-focused approach to national political stories.

What Remains Unclear: Salcedo is in his final week at KSEV, but he hasn’t announced details about his next move. Additionally, Dolcefino’s twice-weekly schedule could allow the show to adjust its format based on his availability.

What It Means: KSEV is leaning into local expertise while maintaining its focus on politics and national news. Collins’ radio experience should provide consistency, while Dolcefino can bring investigative credibility and deep Houston knowledge to the conversation. Together, the station hopes the pairing can establish a distinct morning identity.

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.

Emerging Artists Get Festival Shot via TikTok Music Competition

David Hill
-
0
Emerging Artists Get Festival Shot via TikTok Music Competition

TikTok Live and All Things Go Music Festival partnered this week. The collaboration gives emerging artists a shot at performing NYC’s premier festival.

What We Know Creators can submit entries immediately through TikTok’s Music on Stage competition. The live finals happen August 28 with Lizzy Plapinger serving as guest judge. Winners perform at All Things Go from September 25 through 27. The grand prize includes sharing stages with Carly Rae Jepsen and Brandi Carlile.

What They Said “Creating opportunities for new voices remains fundamental to All Things Go,” said Lizzy Plapinger. She emphasized that discovering emerging artists has shaped her entire career arc. “I’m excited to help spotlight an artist for this rare chance,” she continued. Meanwhile, TikTok’s Head of Live Operations stressed that creators build real communities. “Music on Stage gives creators the chance to share stages alongside the biggest names,” he noted. The platform views this as elevating artistic journeys significantly.

What Remains Unclear TikTok plans to expand this partnership to additional festivals soon. Breakaway Carolina Festival already ended submissions on August 9. However, timelines for other partnerships haven’t surfaced yet. Judging criteria beyond Plapinger’s involvement also remain unconfirmed.

What It Means This partnership signals a major industry shift toward creator empowerment. Festivals increasingly recognize TikTok’s role in artist discovery and audience building. Moreover, the move democratizes access to premier festival stages. Emerging artists now possess viable pathways to mainstream visibility and career growth.

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 Debate Is Over: Pat McAfee, Not Stephen A. Smith Is the Face of ESPN

John Mamola
-
0
The Debate Is Over: Pat McAfee, Not Stephen A. Smith Is the Face of ESPN

There’s a lot of things you can label Pat McAfee. Some positive, some negative. Trendsetter? Yes. Musician/Artist? Sure, but can’t anyone release music today? The face of ESPN? It’s growing harder to argue he’s not. The debate rages among pundits and viewers, but this argument really comes down to a single theory: McAfee is doing everything right now that Stephen A. Smith isn’t.

McAfee’s rise to ESPN may have cut against the grain of what traditionally has been accepted. Today, four years after joining College GameDay, he’s less “renegade” and closer to corporate. He’s mastered using ESPN to expand his influence, platform and brand while simultaneously giving ESPN more opportunities to use his.

The latest addition to McAfee’s plate is becoming part of ESPN’s Monday Night Football lineup. He’ll take The Pat McAfee Show on the road for a three-hour bonanza before taking the stage as an analyst on Monday Night Countdown. Every Monday this NFL season, that means five hours of Pat McAfee on ESPN for your viewing pleasure.

Different Directions

In comparison, Stephen A. Smith’s rise at ESPN took much longer to establish. Lately, his trajectory has moved in the opposite direction. The First Take host is focused more on expanding his influence, platform and brand away from ESPN instead of finding new ways to grow within the company that helped build him.

For instance, remember when it was a big deal when Stephen A. Smith made an appearance on Monday Night Countdown? He did three of them just last year, the first time Smith had done them. This season, no appearances have been announced as of yet.

Remember when Smith was part of boxing and MMA coverage for ESPN? That’s also out the window.

Remember last year when Smith had to clarify that he wasn’t pulled from his role on NBA Countdown? In fact, he admitted he just didn’t want to be a part of the show anymore, stating he had other things to do. To his credit, he negotiated it before signing his reported five-year, $100 million agreement in spring of last year.

Those other things Smith was focused on? Arranging a partnership with SiriusXM Radio to host two radio programs. One daily on Mad Dog Sports Radio and another, POTUS Politics radio, with his Straight Shooter program.

Does that benefit ESPN programming?

ESPMcAfee

For all the controversy that surrounds McAfee and his antics, he’s been the ultimate team player for ESPN. You want added visibility for the College World Series on ESPN? Send McAfee. Stephen A. isn’t headed to Omaha.

Need some help promoting The Patriot Games on ESPN and ABC? McAfee’s right there for you as the ambassador for the network, not Stephen A. Smith.

How about being on site for Team USA and the World Baseball Classic? Anything with the College Football Playoff? Any and every WWE premium live event? The NFL Combine in Indianapolis? You guessed it. McAfee was the choice for ESPN.

Have a hole in your programming lineup because the Knicks swept the Eastern Conference Final? McAfee’s there, crafting a two-hour block of exclusive interviews with league commissioners and ESPN commentators in a “State of Sports” special.

That’s the difference.

McAfee is the classic “yes man” for ESPN. It used to be what Smith once was. An opportunist who wants to milk the platform he’s on for everything it can provide his brand. Would Pat McAfee have made a record without being a part of ESPN? Doubtful. Would Pat McAfee have movie roles in upcoming feature films without the platform of the worldwide leader? No chance.

You could say the same about Smith as his appearances on daytime television soap operas, book tours and growing political aspirations get steam.

For The Brand (First)

It’s a classic you scratch my back; I’ll scratch yours. Both ESPN and McAfee are cashing in because of it. But ESPN is taking a risk by adding more to the plate. One that the network learned from Smith’s prior example of becoming oversaturated with too much ESPN programming. As much as McAfee has elevated the visibility of many ESPN partners, too much of a good thing isn’t always a good thing.

It’s fully understandable that paying McAfee a reported $60-65 million requires added real estate on the network. I’m sure ESPN has also had plenty of conversations about not doing too much, trying to avoid the mistakes it made in the past with Smith.

Still, there’s a reason ESPN continues to turn to McAfee. He says yes. More importantly, he understands that saying yes to ESPN doesn’t mean saying no to himself. Moreover, that’s what makes the relationship work. That distinction matters.

McAfee has taken the ESPN platform and turned it into a launching pad for his brand. In addition, simultaneously giving ESPN more places, events and programming to utilize him. Smith has earned the right to make his own decisions, especially after securing a massive contract and building a brand that extends well beyond television. There’s nothing wrong with that.

But every time another ESPN opportunity disappears from his schedule, another piece of that partnership disappears with it. That matters. That’s also why McAfee has increasingly become the face of ESPN.

Not because he’s quieter, safer or more corporate. In many ways, he’s none of those things. He’s the face of ESPN because he understands something Smith once understood better than anyone long ago and put it on steroids. If you want to grow your brand on a platform, you have to give that platform reasons to keep putting you in front of its audience.

McAfee is doing exactly that.

For now, the man who once looked like the biggest risk ESPN ever took may actually be the network’s best example of how to maximize the relationship without walking away from the brand that helped build it. That may be the biggest difference between Pat McAfee and Stephen A. Smith.

Both understand how to build a brand. McAfee just seems to understand that sometimes the best way to make your brand bigger is to make the platform that gave you the opportunity bigger, too.

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.

20 Brands in 20 Days: Chris Eagan, 101.9 WTMX Chicago & KS95 in Minneapolis

David Hill
-
0
20 Brands in 20 Days: Chris Eagan, 101.9 WTMX Chicago & KS95 in Minneapolis

Chris Eagan oversees two heritage hot AC stations — 101.9 WTMX in Chicago and KS95 in Minneapolis — properties that have earned their place in the industry not through trend-chasing but through a stubborn commitment to doing what’s right for each market. Both stations are throwback references in an era when legacy formats are vanishing. Both are household names. And both prove that heritage radio, when stewarded with intention, remains a competitive advantage.

The Brand That Everyone Knows

WTMX is one of those rare hot AC stations that predates the format itself. The station has been running its current format for decades, accumulating the kind of brand recognition that money can’t buy. “It’s a station in this market that is a massive brand that is well recognized, loyal, loyal following of people who’ve listened to it for years and years and years,” Eagan said. When he tells a stranger in Chicago that he runs the Mix, the response is automatic: they know it. They’ve heard the morning show. They have an opinion.

This is the opposite of the station nobody’s heard of. Eagan pointed to the difference with clarity: “I’ve worked for brands where you know they kind of scratch their head and look at you and go, ‘What is that? The station with the guy?’ This is the one where you say I work at the mix, and they go, ‘Oh my gosh, wow, I listen to the morning show.'”

That immediate recognition is what separates heritage properties from the rest. WTMX registers nationally as one of America’s premier hot AC stations. That kind of cultural penetration is the foundation Eagan works from in Chicago. It means he’s not building from zero. It means the audience shows up with preexisting loyalty and habit. Ultimately, the station’s job is to honor that history while staying relevant, not reinvent itself every quarter.

Anchoring the Morning Drive

The Mix morning show is built on depth. The lineup — Chris, Nikki, and Whip — carries years of collective market history. Chris started as a promotions assistant at the station years ago. Later, he left for Los Angeles to manage social media for brands and work at an ad agency. Then he returned to Chicago, hosting nights before moving to PM drive and eventually landing in mornings. That journey gave him perspective most morning show hosts never develop: he’s seen the station from the inside, tested himself elsewhere, and chose to come back. Nikki has spent years in both the Chicago market and Detroit radio, bringing that regional experience to the show. Whip carries a nickname earned decades ago on another morning show — the “Whipping Boy” — and has done multiple iterations of the Mix morning lineup.

“They have a long time in the market across a couple of different radio stations, and then a considerable amount of time here on the air at Mix,” Eagan said. That depth matters. Importantly, these aren’t imports trying to figure out Chicago. They are Chicago. The show itself is rooted in lifestyle and relevance — what Chicagoans are talking about today. The payoff is evident in the ratings: “They have terrific, terrific performance, and have for about 18 months.” That’s not luck. That’s execution.

The Other Brand: KS95 Minneapolis

The Minneapolis property operates under the same philosophy but with a different resource base and market reality. What works in Chicago doesn’t automatically work in the Twin Cities, and Eagan refuses to treat it that way. “It would be easy for someone to say, ‘All right, we’ll just take everything from WTMX and put that same thing on KS95 in Minneapolis. We don’t do that here,'” he explained. The music is relatively close across hot ACs, but the conversation is different. Minneapolis lives differently than Chicago. It’s colder in winter. The cultural references shift. The things that matter to a listener in one city might not register in the other.

Eagan is actively recruiting a two-person afternoon show for Minneapolis — not voice-tracking from another market, not cutting talent to save budget. Hubbard’s confidence in the station means waiting for the right fit and the right team. It’s a statement about corporate philosophy: these stations are worth investing in properly. Angie Taylor, a Minneapolis native who started her radio career on KDWB’s Dave Ryan Show, is filling afternoons while that search continues. Taylor brings depth — she’s spent considerable time in Minnesota radio and knows the market. The fact that Hubbard is willing to use talent of that caliber as a fill-in while searching for a permanent afternoon show underscores how seriously the company takes both markets.

Local Data Over National Playlists

The secret sauce is independence. Neither station operates under a national playlist pushed from headquarters. Each market generates its own data, informs its own music decisions, and targets its own audience with specificity. “I have Chicago-based data that’s saying, ‘Hey, this is what this audience wants,'” Eagan noted. The same rigor applies in Minneapolis.

“It would be so easy in my chair to say, well, then we’re just doing the same thing on both because I can save myself, you know, five extra meetings a week if both stations are virtually duplicate. But we don’t do that here. We don’t have national playlists. We don’t have song ads that are pushed down.” Instead, Hubbard invests in market-specific strategy, even when it costs more time and resources.

This isn’t ideological purity. Eagan is pragmatic: “Certainly there’s best practices, and there are things there are things in Chicago that also happen to be the right things in Minneapolis, and they’re the right things in Cincinnati, and they’re the right things in West Palm Beach. It just depends.” What matters is that each station has its own voice, its own strategy, and data that supports both.

Refusing the Generic

Heritage radio’s greatest threat isn’t streaming or format shift. Rather, it’s the temptation to treat all stations as variants of the same product. When Eagan’s peer group defaults to cookie-cutter replication, he’s doing the opposite: listening to market data, hiring for local chemistry, and trusting that personality-driven content is still the differentiator.

“Each station having its own unique voice and approach, and sort of strategy behind it. That’s what’s unique to Hubbard,” Eagan said. In an industry drowning in best practices, the two stations Eagan stewards stand apart because he treats them as distinct properties serving distinct communities. That distinction isn’t rhetorical. It’s reflected in music decisions, talent hires, content focus, and resource allocation. WTMX and KS95 aren’t interchangeable. They never will be. And that commitment to specificity — that refusal to take the easy route of replication — is exactly why both brands will remain relevant while less-intentional heritage stations fade.

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.

Why Abby Phillip’s Contract Extension Could Put CNN, Paramount Skydance on Collision Course

Garrett Searight
-
0
Why Abby Phillip’s Contract Extension Could Put CNN, Paramount Skydance on Collision Course

CNN just handed Paramount Skydance an expensive problem — whether or not that was the intention behind it. Abby Phillip’s new contract extension changes the picture entirely. All three of the network’s primetime anchors are now locked into long-term deals. That group includes Phillip, Anderson Cooper, and Kaitlan Collins, according to a report from Variety. On its face, that’s a routine talent story. But given the timing, it reads like something more calculated.

Cooper renewed last year. Collins has multiple years remaining on her existing contract. Phillip was the last domino to fall. Her signature closes the loop on CNN’s primetime lineup. That timing lines up with Paramount Skydance’s $110 billion acquisition of Warner Bros. Discovery, which is inching toward completion. The deal has cleared federal antitrust review, though it still faces legal challenges from several states. So the timing isn’t nothing.

Here’s the theory making the rounds. Current CNN leadership wanted these deals done — well before new ownership could get anywhere near the building. Lock in the talent and drive up the cost of any teardown. That makes Paramount Skydance think twice about gutting what’s already working. Sources familiar with the matter frame the anchor renewals as a preemptive move, not an act of routine business planning.

Reading the Tea Leaves

That’s a defensible strategy, and it’s not hard to understand why. Nobody wants an outside ownership group walking into their newsroom and announcing that everything’s been done wrong. That conversation never goes well, no matter who’s delivering it or how it’s framed. Consequently, tying up the network’s biggest on-air assets before the ink dries elsewhere gives current management real leverage. It’s leverage Paramount Skydance wouldn’t otherwise have to contend with.

However, taking that kind of preventative action says something about what CNN’s leadership expects is coming. You don’t build a moat unless you’re worried about the flood. Reports of unease inside CNN have already surfaced. Much of it traces back to how Paramount CEO David Ellison has handled CBS News. That includes installing Bari Weiss as editor-in-chief last October. That tenure has included staff exits, firings, and stories getting pulled altogether. If that’s the preview, it’s easy to see why CNN insiders aren’t exactly relaxed about what comes next.

Additionally, there’s a deeper current running through this story. Some CNN staffers sense the incoming ownership group doesn’t fully grasp what a 24-hour news operation actually takes. Others suspect the group simply doesn’t care to. That’s the kind of sentiment that doesn’t stay quiet once a merger actually closes.

The Collision Course

None of this guarantees outright chaos. Mergers happen all the time without turning into public spectacles. Paramount Skydance may well decide the smartest move is leaving CNN’s primetime lineup alone. Still, the conditions here look combustible. Locking down talent contracts is one lever current leadership can pull. It’s not the only decision Paramount Skydance gets to make once the deal closes.

Programming philosophy, editorial direction, budget priorities, and personnel above the anchor chairs are all still very much in play. If Paramount Skydance’s new leadership brings the same instincts to CNN, expect a fight over more than three contracts. Meanwhile, CNN’s newsroom will be watching every early signal for a hint of what kind of owner it’s actually getting.

Ultimately, the primetime deals buy CNN some insulation, not immunity. Once Paramount Skydance’s acquisition of Warner Bros. Discovery clears its remaining legal hurdles, that moment arrives. The two cultures meet face to face. One side has spent months building financial walls around its biggest names. The other is preparing to write checks nobody thought it would have to write. Something’s going to give, and it likely won’t be quiet when it does.

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.

Inside DAZN’s Push Into the U.S. Sports Media Rights Race

John Mamola
-
0
Inside DAZN’s Push Into the U.S. Sports Media Rights Race

With the collapse of Main Street Sports Group, several MLB, NHL, and NBA franchises were left looking for new distribution agreements. With limited time before the start of the Major League Baseball season, nine Major League Baseball teams had to scramble to get their games to consumers earlier this year. Following the conclusion of the NBA and NHL playoff schedules this spring, the same deadlines are now approaching for each of those franchises. That’s where DAZN saw a prime opportunity to insert itself into the media rights competition across the United States.

“This was a great opportunistic point in time for us to enter in a place that made sense,” says Zander Berlinski, Senior Vice President, Strategy and Business Development at DAZN Group. “It’s a place that we feel we could bring a lot of value.”

If you’re unfamiliar with DAZN, you’re not alone.

The streaming platform was founded in 2016 and previously carried combat sports events and international soccer programming to U.S. audiences. However, outside of the U.S., DAZN has a much larger subscriber base and is considered one of the top platforms in the world. The company has done international rights deals with the NFL, NBA, and NHL, and carries college football and basketball throughout the year.

Why Now For DAZN

But one item had remained untouched for the company since its founding. Inserting itself into the media rights race for U.S. audiences with teams within the country. That plan began with reported conversations in late 2025, when DAZN discussed concepts for a merger or acquisition of Main Street Sports Group. Despite the effort, Berlinski said the biggest factor in DAZN not moving forward with either plan was purely based on timing.

“The biggest constraint was time. We originally started that conversation from a commercial view as less of an acquisition. It was more about how could we partner with them on the digital side,” explained Berlinksi. “Ultimately, they let us know they were in a tough financial spot. But by that point in the December to January timeframe, spring training was kicking off in February.”

Berlinski credited the discussions with neither side showing a lack of interest in doing business with one another. Since the decision was made to shift away from Main Street, the focus moved to the teams themselves. DAZN CEO Shay Segev told Sports Business Journal that if his company was to be the biggest sport platform in the world, it had to play big in the largest market in the world.

“We’ve matured and grown to significant scale around the world. From our ownership down, there’s been a very strong and imperative want and need to be bigger in the U.S.,” explains Berlinski. “We’ve always had interest… But there’s an opportunity now to have these regional rights with compelling content was a perfect storm leading up to now.”

Late last month, that journey began.

A First Step

DAZN came to an agreement with MSG Networks and YES Network beginning this fall. The multi-year deal grants DAZN to stream all non-national game broadcasts for MSG’s Knicks, Rangers, Islanders, Devils, and Sabres, as well as YES Network’s Yankees and Nets. The deal marked the first significant step for DAZN with U.S.-based media rights within the country. It also effectively ended the two networks’ use of the Gotham Sports App.

“It all came together over the course of this year. We started a conversation with them. Ultimately, we were able to connect with both parties along the lines of what they’ve been able to build themselves. But also the challenges of not being tech or DTC [direct-to-consumer] experts,” explained Berlinski. “Holistically, it moved faster than some of our other situations [so far]. Because there was more of a clear path for what each of those two parties wanted to do compared to some of the teams coming out of the Main Street scenario.”

The agreement with MSG and YES was simply a streaming and DTC arrangement. The next day, DAZN struck again. This time, the Minnesota Timberwolves came to an agreement that saw DAZN acquire full exclusive local broadcast rights for next season. The deal marked the first team-specific agreement DAZN arranged in its journey.

With the NBA reportedly planning to launch a centralized hub for local broadcasts ahead of the 2027-28 season, the agreements DAZN is arranging do carry some risk alongside the potential upside. Some have speculated that DAZN would only target teams ahead of the NBA’s launch. But Berlinski notes that DAZN is not solely focused on agreements just with NBA teams.

“We’re not necessarily taking an NBA only view. You’ll be seeing a smattering of agreements across the three leagues. We don’t have a distinct focus on the NBA,” says Berlinski. “We are open to talking to any and all teams. We’re selective about economics and the structure of a deal. We only want to do deals that make sense for all parties involved. We think about every deal as a true partnership, and feel we can bring a lot of stability to a space that’s been quite unstable.”

Berlinski believes the key is flexibility. He notes that every agreement across the world looks different rather than following a one-size-fits-all approach. With an understanding that every league and team has different priorities, Berlinski says that’s where DAZN shines brightest.

A Proving Ground w/The NBA

With reports that DAZN is nearing full rights deals with the Cleveland Cavaliers, Indiana Pacers, San Antonio Spurs and Memphis Grizzlies, time is once again working against the company. With the Orlando Magic and Charlotte Hornets both announcing over-the-air local broadcast agreements last week, DAZN’s flexibility creates an opportunity for a DTC-only arrangement to emerge.

The DAZN viewing experience will be different from what fans are used to. With features surrounding real-time statistics, team and league news, and interactive chats and polling during broadcasts, DAZN is also currently working with the NBA on alt-casts, according to Berlinski.

“Specifically for the NBA, we’re working with the league to get a variety of alternate feeds. You’ll have the main broadcast, but also different alternate feeds. Whether that’s like a mobile view or certain alt-casts that are betting focused or otherwise,” explained Berlinski.

When asked who will be hosting the alt-casts, Berlinski revealed that the concept is it would be a “mixture” of league, team, and DAZN talent potentially.

The price point for fans still remains unknown. However, Berlinski noted there are plans to allow access to DAZN’s “Freemium” tier. That allows free access to game broadcast in front of the paywall.

“It’s going to vary slightly depending on the deal with the team and the market,” says Berlinski who referenced DAZN will be placing fifteen live games ahead of the paywall on DAZN this coming season. “It’s all catered to get people in and trying out the app. Getting to experience why we think we provide a better viewing experience. Hopefully then we can upsell them to a subscription for their favorite team or more.”

With each new arrangement comes the hard work of marketing and educating sports fans on what DAZN is. Berlinski admits that the company is well aware that its footprint and brand awareness are not as strong in the U.S. compared to other countries around the world.

Because of this, he says DAZN will take a multi-pronged approach, spending “significant marketing dollars” in each individual market across traditional, digital, social, and search advertising.

The company will also lean on its new partners to welcome their fans to the DAZN experience.

“In all our deals, we’re working closely in partnership with all the respective team partners providing them with a suite of assets to arm their own operating platforms,” said Berlinski. “We’ll work with the league as well. We’re going to be integrated into the NBA’s tap to watch initiative as well. We recognize that DAZN as a name is not as well known here. We have a job to do.”

The Future Ahead

For DAZN, the opportunity is clear. The U.S. sports media landscape is changing. The instability surrounding regional sports networks has created an opening for a company that has spent the better part of a decade building a global streaming operation.

But turning that opportunity into long-term success will require more than acquiring rights. DAZN must convince American sports fans that it belongs in their everyday viewing habits.

That challenge is not lost on Berlinski. The company knows it is entering a crowded and complicated market. Where fans have more choices than ever and patience for another new platform is limited. The difference, he believes, is what DAZN can build around the games themselves.

“The hope is this year we prove ourselves to some degree to certain teams and leagues to show what we can do,” said Berlinski about DAZN positioning itself as an option in working with the NBA on their centralized streaming hub beginning in 2027. “We’re as well positioned as anyone given the moves we’ve made. The moves that will come, and we’re active in those conversations. I think the league thinks we’re a strong partner as well. It’s up to us to execute over these next few months. To prove to their teams and the league how good of a partner we can be. That will only better position us for those conversations.”

That job begins with introducing DAZN to American sports fans. From there, the company hopes its technology, flexibility, and willingness to build partnerships can do the rest. More teams and leagues searching for answers to their local media rights futures. DAZN sees an opportunity that extends well beyond the current wave of uncertainty.

The company may have arrived in the U.S. regional sports market because of disruption. Its success, however, will ultimately depend on whether it can turn that disruption into something fans see as an improvement.

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.

Red Hotline Globe: Why Authentic Air Talent Matters

Kevin Callahan
-
0
Red Hotline Globe: Why Authentic Air Talent Matters

I can still remember sitting behind the board as an air talent. The red hotline globe would glow right after a break. Alternatively, I’d see it light up right after I played a song that wasn’t on the music log. I had a killer phoner to go with it, so the decision made sense at the time. I can still remember being written up by my PD Scooter for playing Biz Markie.

Granted, today it is much easier to clue your Program Director in on variances in the log. However, I certainly did not always make the best decisions back then. But I was incredibly lucky. When I stepped out of bounds, a PD, consultant, or General Manager took the time to advise me. They showed me how to consider more variables next time. Most importantly, they coached me through the moment while still allowing me to be myself. Does this still happen? It should!

That kind of guidance is what keeps creative passion alive in our buildings.

The Real Data Behind Personality

See any industry news feed and layoff announcements get top billing. Meanwhile, the real magic happening inside studios barely gets a mention. But when you look past the headlines at the latest numbers from Jacobs Media Techsurvey 2026 and Coleman Insights, the truth is clear. Personality is not an optional extra. It is the single greatest asset broadcast radio possesses.

In Techsurvey 2026, 56 percent of listeners reported feeling a deep personal connection with their local radio stations. They simply do not feel this connection with any other audio platform. In Country, that number jumps to 60 percent. Notably, in Hot AC, it climbs to 66 percent.

Furthermore, findings from the Coleman Insights Listener Truth Project confirm something important. During times of news cycle trauma and everyday stress, listeners intentionally turn to local radio. They seek an emotional sanctuary. Any stream can dish up music, but they cannot offer warmth, shared humor, connection, or a companion walking you through your morning routine. Additionally, radio gets you into the right headspace for work.

Takeaways to Fortify Your Career

The energy coming out of MSBC 38 in Cleveland offered direction for talent. Here are key takeaways for building a sustainable, long-term career:

Authenticity is a Superpower: Broadcast veteran Valerie Geller reminded talent that authenticity paired with the refusal to be boring is your ultimate weapon. Listeners want real, unfiltered human beings, not polished corporate announcers.

Focus on YOU over I: One of the most practical shifts from story building sessions is changing your on-air vocabulary. Instead of saying “I did this,” try “YOU know how it feels when.” Turning the lens onto the audience instantly transforms a broadcast into a shared conversation.

You Are the Brand: Your station call letters are important. However, you are the brand that listeners follow. Build your personal footprint across social media and local events. Doing so ensures your connection with the audience belongs to you.

Have Idea Sessions: This one isn’t from Boot Camp necessarily. The lost art of sitting around the programming department and creating crazy ideas can still happen. Find ways to get all the creative brains together. Then generate as many ideas as you can. Finally, pick one to develop and execute.

Keep Taking Big Swings

If my early days on the air taught me anything, it is this: on-air talent is built through trial, error, and trust. There is no growth if you are not allowed to try. You must learn from mistakes and trust leadership. There was always value in running ideas by the air staff, PD, and promo team. Similarly, you can still do that today, even if it looks like a Zoom call instead of pizza and beer from the sales manager.

Show up in your community. Furthermore, bring raw ideas to your PD. Additionally, focus on making your listeners the hero of every break. When you build an undeniable bond with your city, your connection with the audience can’t be replaced.

For PDs and leadership, your job is to encourage those crazy ideas. Embrace “How might we” collaboration, and let talent take the show outside the walls from time to time. The headlines might focus on cuts, but the audience is voting for connection. Therefore, lean into your humanity, own your craft, and pass along encouragement and all of those crazy ideas.

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.

Why the CW Network’s College Football Coverage Deserves Your Attention This Season

John Molori
-
0
Why the CW Network’s College Football Coverage Deserves Your Attention This Season

If you think the 2026 college football TV schedule resides only on major networks like ESPN and FOX, you are mistaken. This season, The CW Network will broadcast 140 hours of regular-season college football beginning Saturday, August 29, with New Mexico at Florida State. CW coverage will run the gamut of conferences, including the ACC, Mountain West and Pac-12.

The CW has compiled an impressive roster of broadcasters for the 2026 season. Thom Brennaman will handle play-by-play for ACC football with Jason Cabinda as an analyst and Wes Bryant on the sidelines. For Mountain West football, Jack McMullen will handle play-by-play alongside Cody Kessler. They will work with Marshall Newhouse as a sideline reporter.

Pac-12 games feature Rick Allen as the lead play-by-play announcer. With Will Blackmon as a booth analyst and Michael Bumpus working the sidelines. Other members of the broadcast lineup working various Mountain West and Pac-12 games include play-by-play announcer Chris Fisher, analyst Isaiah Stanback and sideline reporter Brian Walters.

This is indeed a unique mix of talent. Lesser-known personalities alongside veterans like Brennaman. In addition, with major college football dominated by the SEC, Big 10, Big 12 and ACC, it will be nice to see coverage of games in the competitive Mountain West and the Pac-12. A conference that has lost some of its luster but still offers some strong programs.

Setting The Table

The CW’s college football games will be preceded by The CW College Football Countdown. The network’s pregame show hosted by Mike Yam alongside lead analyst George Wrighster.

Yam is fast becoming sports television’s version of Ryan Seacrest. The dude is seemingly everywhere. One minute, he is suited and tied at an anchor desk talking football on NFL Network. The next, he’s dressed casually in an easy chair talking hoops on NBA TV.

Forget Seacrest, Yam is the studio host version of ESPN/ABC play-by-play announcer Sean McDonough. His versatility in moving from sport to sport is outstanding. As an observer who appreciates the craft and art of hosting, I’m excited to watch Yam work CW college football.

While he has made his name covering professional sports most recently, Yam is no stranger to the college game.

Before making his mark at NFL Network, he served as a lead studio host for Pac-12 Network football and basketball for nearly a decade. Yam always brings his A-game to any assignment. His face and voice will be the first that viewers see and hear on CW college football coverage this year.

That’s a good thing for the network.

Fresh Faces, Notable Names

The 140 hours of coverage on The CW this year is the most in the history of the network. There is no doubt that Brennaman is the figurehead and face of the broadcast lineup. Once the top baseball play-by-play announcer for FOX Sports, Brennaman has seen the positive and perilous sides of sports broadcasting. He, of course, was mentored by his dad, Marty Brennaman, the legendary Cincinnati Reds play-by-play announcer.

I’m curious to see how Cabinda and Brennaman work together in the booth. He has done some fine studio work for CBS Sports HQ GameDay Recap. Also, he’s done broadcasting work for his alma mater, Penn State.

Similar to Brennaman, McMullen is a baseball guy, having served as the radio play-by-play voice of the Miami Marlins. His booth partner, Cody Kessler, has an impressive broadcasting resume, including NFL Network, TCU football and the Las Vegas Raiders. Kessler is a USC guy and, like fellow Trojan QB and FOX college football analyst Matt Leinart, is unfazed by the spotlight with that LA/Hollywood pedigree.

I see Kessler further evolving in his work at The CW this fall and moving up the ladder as a college football analyst.

Another CW personality I’m really looking forward to watching is Will Blackmon. He put together a terrific 12-year NFL career as a cornerback, safety and punt/kick returner, and won a Super Bowl with the Giants. The Boston College Hall of Famer also called CW Sports ACC games in 2025. I like the personality, intelligence and defensive mentality that he brings to the broadcast booth.

One thing you can say about The CW college football broadcast team is that they are quite versatile. All of the play-by-play announcers have experience in sports other than football. They may not be household names, but that could change this fall with some decent games and teams across The CW schedule.

Fisher has been the Oklahoma City Thunder play-by-play announcer for the past few seasons. He has also done basketball work for FS1, Big Ten Network, FOX Sports West, Pac-12 Network and Time Warner Cable.

If you’re looking for a CW color analyst who brings hardware and pedigree to the table, look no further than Stanback. He’s a four-time Emmy Award winner as a color commentator for Dallas Cowboys’ preseason broadcasts.

Stanback is the nephew of former Atlanta Falcons running back Haskel Stanback. He also works for the Seattle Seahawks Radio Network and has deep ties in Washington state as a former quarterback at the University of Washington.

More Ways To Watch

CW Sports may not be ESPN, but the two networks have forged a new streaming agreement bringing CW Sports live events to the ESPN app. The partnership includes coverage of WWE, NASCAR and college football.

Let’s keep it real here: CW Sports is not going to feature games pitting traditional powers like Oklahoma, Notre Dame, Michigan, Alabama, Georgia or Texas against each other. However, just looking at the 2026 college football schedule, they do have some interesting matchups.

Some that will make my viewing calendar include the opener with New Mexico State at Florida State on August 29. Also, the September 9 twin bill with Stanford at Duke and James Madison at San Diego State. Miami hosts Central Michigan on September 26. Washington State is at Utah State on October 9. Then the next day, perennial power North Dakota State, now in the Mountain West Conference, travels to UNLV. The CW season culminates on November 27 with Air Force at New Mexico.

Of course, The CW is not the only network gearing up for the college football season. Fans’ appetites are being simultaneously whetted with a full slate of games on the aforementioned ESPN/ABC and FOX Sports. In addition, USA Network, NBC, CBS, and the ACC, Big 10 and SEC Networks all have a full slate of games.

All of this is a sure sign that college football is back. With it, all of the hype, tradition, painted faces, mascots and pageantry, along with the usual hardcore debates on NIL, the transfer portal and the expansion of the CFP playoffs.

As Terrell Owens so famously said, “Get your popcorn.” The fun is about to begin.

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.

Why Consolidation Strategy Beats Streaming Competition Right Now

Jim Ryan
-
0
Why Consolidation Strategy Beats Streaming Competition Right Now

The FCC needs to deregulate ASAP to help all in the radio industry. I was surprised to find talent at Morning Show Boot Camp sharing a very opposite viewpoint on this subject. They felt that consolidation in the 90’s and massive debt to own more stations have caused lower salaries and fewer jobs. No question — when you’re paying millions in interest on loans it becomes harder to invest in a business. However, I believe the next wave of consolidation will make radio stronger for everyone.

While we were all trained for years that the competitor is up or down the radio dial from us, that is simply not true anymore. Yes, your bonus is based on rank, share, or AQH persons. However, we all need to think about the bigger picture. If listeners leave for Spotify because they can’t find the music they want on the FM band, it’s a loss for radio.

Similarly, if people spend more time on YouTube for entertainment over local radio, it’s also a loss. Moreover, if Google or Meta offer a better plan to our biggest advertisers, we’re in trouble. The enemy is not another radio company — it’s a giant corporation looking to eat us for lunch. Therefore, if radio companies had a bigger presence in each market, they would be better equipped to fight that enemy.

Market Consolidation in Action

In the Fort Myers/Naples market, Beasley recently sold their stations to Sun and Fort Myers Broadcasting. These two locally based companies now own the top six stations in the market and employ live talent on those stations. In contrast, iHeartRadio — which invests heavily in New York, LA, and Chicago — ranks at the bottom of the market as #51 is not meaningful to them. Deregulation could bring more local companies back into broadcasting where they would make a meaningful difference in a market.

Let’s take a hypothetical situation if the ownership caps go away. In Minneapolis, iHeartRadio, Cumulus, Hubbard, and Audacy all compete for revenue and listeners. The three companies owning the least number of stations could combine in a world without limits. I’d pick Hubbard since this is their home market. Notably, they would be a much stronger company and better able to compete with iHeartRadio and Minnesota Public Radio, which has a huge following in Minneapolis.

Since they would now have the two Cumulus rock stations and the Audacy Jack format. They could eliminate one and launch a different format to sell in tandem with their other stations. Additionally, their sales team would rep half the stations in the market, giving them more leverage with advertisers and creating more talent endorsement revenue. A market with only two giant radio companies (and Public Radio) would be better equipped to take format chances and fight the flight to other media.

Lessons from the Past Deregulation

When the 90’s decade began, radio was struggling as companies could only own seven AM and FM stations in the country. Deregulation caused stations to increase in value and everyone did well — including talent. It could do the same today. Radio works for advertisers. If a seller could put together a media plan with over a half dozen stations and digital that reach a majority of a market’s population, that’s a win. In small markets, one owner makes sense. In medium and large markets, two owners is optimal.

I know that talent are skeptical because some of you have been treated poorly and had your jobs eliminated. But the leaders of broadcasting companies were handed the giant debts that their predecessors created. If the FCC creates an environment where there is an easier path to profitability and success, it would be a win for everyone — including talent.

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.

1...567...2,750Page 6 of 2,750