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Triton Digital Launches AI-Powered Audio Advertising Software

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Triton Digital has completed what it calls the audio industry’s first agentic media buy. The transaction used artificial intelligence agents to negotiate and book an advertising campaign without manual intervention.

What We Know: Triton Digital completed the transaction through its newly launched Seller Agent, built on the Triton Ad Platform. The campaign involved media partner Talpa Media, agency Draft Digital, and advertiser Otrium. AI agents handled the entire process, from the initial request and negotiations to booking the campaign in the ad server. As a result, the transaction took minutes instead of days. The campaign is now live through Talpa Media’s digital audio offering, Sync. The Seller Agent allows publishers and buyers to evaluate and fulfill campaign requests through AI agents while maintaining established pricing and campaign safeguards.

What They Said: “Audio doesn’t have a performance problem; it has an allocation problem. Budgets follow the path of least resistance and execution cost, rather than focusing on effectiveness. Now agents can interact to identify the right inventory, align on terms and book the deal in minutes instead of days, without the publisher giving up control of pricing or relationships. We’re not removing the publisher from the decision; we’re removing the friction around it. When publishers can say yes to more demand and improve product fit for advertisers, that’s real revenue lift and stronger retention.” -Triton Digital Chief Product Officer Benjamin Masse

What Remains Unclear: Triton Digital hasn’t disclosed the campaign’s financial value, the volume of advertising inventory involved, or how widely it plans to deploy Seller Agent. The company also hasn’t detailed how quickly other publishers and agencies could adopt the technology.

What It Means: The transaction demonstrates how AI agents could reduce friction in digital audio advertising. By automating negotiations and bookings, Triton Digital aims to help publishers capture more demand while reducing administrative work. However, the system still relies on human-set pricing, privacy, and campaign-validation standards. Its broader impact will depend on adoption and whether automated buying generates additional revenue for publishers.

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College GameDay Viewership Dips Slightly, Yet Remains On Pace For Record Year

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ESPN’s College GameDay drew 2.5 million viewers from Salt Lake City in Week 8. As a result, it became the second most-watched Week 8 show in program history.

What We Know: Through eight weeks, GameDay is pacing 5% ahead of its 2025 season average despite the show’s lowest average audience this past weekend for the season. However, Saturday’s final hour drew 3.1 million viewers. That number topped the competition (FOX Sports) by 105%. Meanwhile, ESPN networks aired three of the week’s top five games across all networks. Furthermore, the network noted Ole Miss vs. Texas drew 8.1 million viewers as the week’s top game. Consequently, ESPN now owns nine games this season with at least 8 million viewers.

What The Data Shows: (All via ESPN PR):

College GameDay 2026 Viewership

WeekLocationAverage ViewershipFinal Hour Viewership
1Baton Rouge, LA2.8 million3.5 million
2Austin, TX2.7 million3.4 million
3Oxford, MS2.8 million3.6 million
4Knoxville, LA2.8 million3.7 million
5Iowa City, IA2.9 million3.7 million
6Birmingham, AL2.8 million3.6 million
7Provo, UT3.0 million3.9 million
8Salt Lake City, UT2.5 million3.1 million
9Bloomington, INTBATBA

What Remains Unclear: However, the 2.5 million total snapped a streak of 2026 episodes above 2.7 million. ESPN also did not explain the dip or share a peak audience. Next, the show heads to Bloomington, Indiana where the show did well last season ahead of the Hoosiers’ national championship run.

What It Means: Ultimately, one softer week has not derailed GameDay’s record pace. Moreover, the 2026 season ties 2025 for the most 8-million-viewer games through Week 8. Therefore, ESPN’s college football machine keeps rolling into November.

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Scott Jennings Faces $72.5 Million Lawsuit From Hasan Piker

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Hasan Piker has filed a defamation lawsuit against Scott Jennings, seeking $72.5 million in damages. The lawsuit follows Jennings’ allegation that the political commentator endorsed lynching during an August radio broadcast.

What We Know: Piker filed the lawsuit Tuesday evening, seeking $27.5 million in compensatory damages and $45 million in punitive damages. The case stems from comments Jennings made on the Salem Radio Network on August 11th, when he alleged that Piker had endorsed lynching. According to the filing, Piker’s representatives formally requested a retraction from Jennings on August 31st. However, the lawsuit states that Jennings hasn’t responded to that request.

What They Said: “These were not expressions of disagreement with Mr. Piker’s politics. Nor were they rhetorical characterizations of an admittedly controversial commentator. They were factual assertions about what Mr. Piker had said and advocated in his work. Each statement was demonstrably false.” -Legal filing from Hasan Piker’s attorneys

What Remains Unclear: The filing doesn’t establish whether Jennings or Salem Radio Network will publicly respond to the lawsuit. It also remains unclear whether Jennings will issue a retraction or whether the dispute will proceed to trial.

What It Means: The lawsuit puts Jennings’ on-air commentary under legal scrutiny and could create a costly dispute over the distinction between political criticism and allegedly false factual claims. The case also raises questions about the legal risks facing commentators when discussing controversial political figures. Its outcome could hinge on whether Piker can demonstrate that Jennings made defamatory statements under the applicable legal standards.

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New D.C. Sports Outlet The District Standard Promises “All Sports, All Local”

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The District Standard launched Tuesday as a new subscription sports site covering Washington sports. Marc Bluestein and Bram Weinstein started it after The Washington Post cut its sports desk.

What We Know: Bluestein, CEO of Aquarius Sports & Entertainment, and Weinstein, the Commanders’ radio voice, teamed up to launch the site after the Post shut down its sports desk in February. It covers pro, college and prep sports through articles, podcasts and video. Moreover, every major local team receives its own beat reporter. Among them are including JP Finlay on the Commanders, Sammi Silber on the Capitals and Bijan Todd on the Wizards. Subscriptions cost $7.99 monthly or $100 annually. Likewise, The site isn’t the only newcomer since the Post’s shift. News of the United States recently rebranded as The Washington Sun, which covers local news, politics and sports.

What They Said: “We really thought if we did this proof of concept well with what’s happening in the sports marketplace and the sports newspaper marketplace in particular, we could really scale this concept.” –Marc Bluestein

“Independent, unfiltered, and local. We are committed to providing comprehensive, credible, and engaging coverage throughout the region with a simple guiding principle. All sports, all local.”-Bram Weinstein

What Remains Unclear: The District Standard hasn’t said how much money went into its launch or whether outside investors are involved. Additionally, the outlet hasn’t explained how it will balance subscription revenue with advertising and sponsorships over the long term.

What It Means: The launch tests whether D.C. readers will pay for local sports coverage after the Post’s cuts. Moreover, Bluestein called the site a proof of concept. Early results could decide whether the “Standard” brand expands to other cities. It also hopes to raise funds in the low seven figures, and investors will likely watch its first numbers closely. If the model works, the site could fill the gap the Post left. Giving local high school and college teams steady coverage. Additionally, local teams and advertisers have a potential new way to reach engaged fans. Ultimately, fans will judge the site on one thing: whether it delivers consistent, original reporting.

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NBC Sports Sees Largest NFL Primetime Audience This Season With Seahawks Victory Chiefs

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Two recent Super Bowl powers met on Sunday night, and viewers showed up on NBC Sports. Seahawks-Chiefs was the most-watched primetime NFL game this season so far.

What We Know: The game averaged 26.3 million viewers across NBC and Peacock. That makes it the most-watched Week 7 Sunday Night Football game since 2013, when Peyton Manning’s return to Indianapolis with the 5-0 Denver Broncos drew 27.0 million viewers. The audience peaked at 29.0 million viewers during the second quarter, between 9:30 and 9:45 p.m. ET, and the broadcast also delivered the largest primetime NFL audience of the season. Both teams brought plenty of hype, since they’ve combined to win three of the last four Super Bowls.

What the Data Says: (via NBC Sports PR)

Matchup (Date)Average Viewers
Chiefs vs. Seahawks (Oct. 25, 2026)26.3 million
Broncos vs. Colts (2013, Week 7)27.0 million

What Remains Unclear: The release doesn’t separate NBC’s Sports broadcast audience from Peacock’s streaming viewers. Moreover, it’s unclear how changes to Nielsen’s measurement methodology have affected viewership totals and comparisons with previous seasons. Additionally, whether NBC can maintain this momentum throughout the remainder of the season remains uncertain

What It Means: For NBC, the performance strengthens Sunday Night Football’s appeal to advertisers while supporting its combined broadcast and streaming strategy. Moreover, the strong showing reinforces the NFL’s ability to draw massive primetime audiences, particularly when high-profile franchises and star players meet on national television. Looking ahead, sustained ratings success could further strengthen the NFL’s leverage in future media rights negotiations.

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NFL on CBS Ratings Soar to Most-Watched October Since 2015

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NFL on CBS ratings are soaring this fall, its most-watched October since 2015. A 3% jump over last year’s record-setting season has the network riding high.

What We Know: NFL games on CBS Sports averaged 19.358 million viewers during the month, its best October in 11 years. That also makes it the second-best October on record for NFL on CBS, behind only 2015. Chiefs-Raiders in Week 4 led the charge with 28.449 million viewers, which makes it the network’s most-watched October game since 2007. Moreover, it remains the most-watched NFL game of the season on any network. Additionally, Bills-Raiders drew 26.369 million viewers, giving CBS two of October’s three most-watched games. Meanwhile, NFL on CBS is averaging 19.198 million viewers this season, up 3% from last year’s record-setting season.

What the Data Says: (NFL on CBS — Overall Viewership – via CBS Sports PR)

CategoryAverage ViewersMilestone
October 2026 Average19.358MBest October in 11 years
Season Average Through Week 719.198MUp 3% vs. 2025’s record-setting season

Source: CBS Sports / Nielsen Big Data + Panel.

What Remains Unclear: It’s unclear whether NFL on CBS can sustain this pace, since the matchups on the schedule will drive the average. Additionally, the release doesn’t explain how Nielsen’s Big Data methodology shaped the figures, or whether it affects comparisons with earlier seasons that were measured differently.

What It Means: The numbers show the NFL remains television’s most reliable draw, and CBS is cashing in. Consequently, advertisers get a bigger audience to target, which strengthens the network’s hand with sponsors. Additionally, strong ratings give CBS more leverage in future conversations about its NFL package. The real test comes as the schedule turns toward its biggest games of the season.

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Dan Bongino to Host Election Night Special on Rumble

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Dan Bongino will host a special election night broadcast for Westwood One as voters head to the polls. The two-hour livestream will air on Rumble as Silverloch Media delivers election analysis across its platforms.

What We Know: Westwood One’s Election Day lineup will feature its regular programming from Silverloch Media, followed by special coverage from Bongino. The schedule begins with the VINCE podcast from 8-9 a.m. ET, followed by The Vince Show with Vince Coglianese from noon-3 p.m. ET. Meanwhile, Scrolling with Hayley will air from noon-1 p.m. ET, followed by Shawn Farash Live from 1-2 p.m. ET. Bongino will host The Bongino Report PM from 3-6 p.m. ET before returning for a special edition of The Dan Bongino Show from 8-10 p.m. ET on Rumble.

What’s at Stake: The expanded coverage gives Silverloch Media an opportunity to reach audiences through radio, podcasts, and streaming. Additionally, the election night broadcast will give Bongino a dedicated platform to discuss results and react to developments as they unfold. The approach allows the company to serve listeners and viewers across multiple platforms throughout Election Day.

What Remains Unclear: Westwood One hasn’t detailed the specific guests, contributors, or segments planned for Bongino’s special broadcast. The company also hasn’t outlined whether the livestream will include additional programming beyond the announced two-hour window.

What It Means: The lineup highlights Silverloch Media’s multiplatform approach to political coverage. By combining its regular programming with Bongino’s election night livestream, the company can maintain its established schedule while offering a dedicated destination for election analysis and reaction.

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Hollywood 360 Brings Golden Age of Radio to Salem Radio Network

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Salem Radio Network is bringing Hollywood 360 to stations nationwide. The five-hour weekly show brings the Golden Age of Radio back to local dials on November 30th.

What We Know: Salem Radio Network will begin distributing Hollywood 360 to stations nationwide on Monday, November 30th, the company said Tuesday. First launched in 2009, the show now reaches more than 100 affiliates, according to Salem. Radio historian and producer Carl Amari and co-host Lisa Wolf lead the five-hour weekly program, which pairs restored dramas, mysteries, westerns and comedies with showbiz news and trivia games.

Likewise, Each edition packs in five half-hour broadcasts from series like Suspense, Sherlock Holmes, Gunsmoke, The Jack Benny Program, Escape and Yours Truly, Johnny Dollar. Humphrey Bogart, Lucille Ball, Cary Grant, Bette Davis, Henry Fonda and Elizabeth Taylor are among the vintage stars heard on the air. Amari pulls the episodes from his library of more than 100,000 shows assembled over nearly four decades.

What Remains Unclear: Salem hasn’t said which stations will carry Hollywood 360 or in which format. The release also doesn’t say whether the show’s 100-plus existing affiliates are part of this rollout. It lists a Monday, Nov. 30 launch but gives only a Saturday live window, so the first broadcast date isn’t clear. Moreover, Financial terms remained private. 

What It Means: The launch signals that Salem sees room for nostalgia-driven programming in its national lineup. For stations, the show offers a way to add entertainment content without building a new program from scratch. Meanwhile, listeners who grew up with these broadcasts, or who are just discovering them, could find them on more local dials. Overall, the rollout suggests that old-time radio still has an audience in the era of podcasts, and that stories from decades ago can still compete for attention today.

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Meet The Leaders: Rob Babin, President, Cox Media Group Radio

Meet The Leaders is a special 8-week series created in partnership with Point to Point Marketing. Today’s feature is on the President of Cox Media Group Radio, Rob Babin. Follow along with the series and revisit former conversations by checking out the entire category.

Rob Babin serves as President of Radio at Cox Media Group (CMG), overseeing the company’s radio operations, strategic direction and financial performance. With nearly three decades of experience in broadcasting, Babin has spent the majority of his career with CMG, advancing through leadership positions across several major markets. His extensive experience in sales, market management and regional leadership has helped shape his approach to building successful radio brands and developing high-performing teams.

Babin rose to senior vice president and head of radio in January 2021. He succeeded longtime radio executive Bill Hendrich, before becoming president of CMG Radio. Under Babin’s leadership, CMG Radio has emphasized audience growth, revenue development, innovative programming, community engagement and operational excellence. Beyond his work at CMG, he has contributed to the broader broadcasting industry through leadership and board service with organizations including the National Association of Broadcasters (NAB) and the Radio Advertising Bureau (RAB), where he was just elected as the new chairman.

In this edition of “Meet The Leaders,” we dive into his new role with the RAB as chairman, balancing oversight with multiple markets, AI, attribution in radio, and why building and promoting from within is so important to the future of Cox Media Group.

Babin spoke with Barrett Media from his offices in Atlanta, GA.

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

John Mamola: Congratulations on being elected the new chairman of the RAB executive committee. You’re succeeding Townsquare Media COO Erik Hellum in that role, but you served as vice chair underneath him. With this new role, what do you hope your leadership of this committee will be as chairman?

Rob Babin: First of all, Erik is a good friend. It was great to serve under him. He’s such a great leader. Working with CEO Mike Hulvey as well.

Overall, I’m extremely honored to serve as the chair of this committee because of the leaders that are on it. This board of directors is a phenomenal group of leaders. The best of the best. Truly, there’s a unified passion and belief and optimism about radio.

The first piece is the honor, and the opportunity to work on the board with the board directors, but also with RAB staff. It’s an amazing staff as well. The work they’re doing is endless in advocating for radio and supporting broadcasters. Really helping advertisers to better understand the power of radio.

One of the central focus areas as an industry is when we really focus on combining radio’s trust, and local connection with better proof of performance. Plus, a simpler buying experience for the advertising community. That’s when I think we’ll see revenue grow in this industry. I really believe there’s growth ahead of us.

When you think about the extreme complexity out there, I remember in the early 90s selling radio and here comes this dot com. Then, we had search and did other aspects. It’s always been evolving challenges and concerns. But I think today we’re presenting with a different opportunity. In this one-to-one fragmented media world filled with algorithms, this mass media and shared experience has the best reach of any of the local media you can buy in a market for an advertiser.

We’ve got to prove it out. We’ve got to work better as an industry to prove the outcomes. Make it simpler for not only local, but also the national advertisers to buy radio and see the results.

John Mamola: Earlier this year, you personally advocated that the industry should treat digital as a primary growth engine. You said 2026 would be defined by the ability to integrate radio and digital campaigns that offer measurable results. We’re now six months in. How would you say the industry has adapted to what you were pushing for six months ago?

Rob Babin: I can’t speak on behalf of the whole industry, but what I’ll share what our perspective is.

What we know is Google search is continuing to decline because of AI, Google pages and all the different evolutions around how customers find products and services. The reach that we have in radio combined with smart digital assets driving a singular campaign is proven to work. It’s proven to help customers understand how to build relationships via the core business we’re in. Building that brand in an advertising industry that’s become very much bottom of the funnel.

Radio is a brand builder. The digital assets that we’re selling now are much more aligned to the radio schedules and campaigns that we’re airing right now. 15 years ago, a lot of radio companies built their business off of search, reselling, third party and so on. While we still have third party digital assets, it’s more about selling parallel to radio schedules.

John Mamola: The issue of attribution to radio continues to still be an issue. Despite all the gains made to show clients their campaigns work with radio because of X, Y and Z. What do you think the remaining hurdles are that the industry could overcome in the next year?

Rob Babin: There are so many partners out there. We see them at the NAB, the RAB board meetings and so on. There are so many different tech partners out there working hard on behalf of the radio industry to provide us with technology and all that fun stuff.

We need to be working closely with those companies and working closely as an industry, understanding more of what advertisers need to justify more radio spend. What we’re hearing at more of the national level is we need radio to be in our DSP. We need radio to be available and planned multiple markets in 24 hours, not four weeks. As an industry in leadership, we have to continue to consider and think about how we modernize how our inventory is available to those national clients.

If you think about billboards years ago, they weren’t programmatic. Television has advanced. Digital has advanced. Radio must advance how we’re available to planners so they can effectively plan radio and measure the outcomes. From an outcome perspective, it’s about continuing to work with partners to understand how with all the tech out there, there must be some viable solutions for us to understand how radio impacts outcomes in marketing campaigns.

There is one such vendor we’re working with on over 200 stations around the country. That’s Validate with Coleman Research. We’re utilizing that in a few markets now. We started last year, and that enables us to see directional outcomes, if you will, from over-the-air radio campaigns.

John Mamola: You’ve been with Cox now for 25 years. You’ve seen this industry evolve in so many different ways. What’s one element of the industry today that you never would have conceptualized maybe in your earlier days entering the business?

Rob Babin: Technology is never going to stop. It’s always moving forward. But in so many ways, we’re doubling down on it. My belief is you’ve got to have the right people.

You can look at all the technology coming our way, all the changes that come with that. But you’ve got to have the right people focused on their people. Focused on serving our community, serving our audience, and serving our customers. That remains. Technology enables us to do it better, but the most important lesson to me is it always starts with people. We can’t be successful, we can’t be resilient, and can’t evolve and transform if not for strong talent on our teams.

John Mamola: Cox Media Group has had a number of promotions within the company in several markets. From your position leading this company, how vital is it to continue raising the next generation of leaders from within the walls?

Rob Babin: I have many passions, but one of my highest passions is seeing people grow. We focus on training, but really the best training is on the job. Continually, in our reporting structure, we ensure that our leaders are constantly engaged in meeting with our people. That includes meeting with leaders and management, and thinking about their development. Putting them in situations where they can grow and learn.

A long time from now when I retire in the industry, I want to know that the industry is better than it was when I started. It’s important to me that the leaders feel the freedom to explore but also are given the playbooks to succeed. It’s talent that makes it happen.

John Mamola: I talk to a lot of talent around the country. We always discuss the next generation that want to get into broadcasting and their advice for them. From the sales, marketing and digital side, how would you sell the role of selling radio to somebody that might be considering entering the industry?

Rob Babin: I talk to students often in college and even in high school. What I would say is that, and I say this to my team all the time. There’s so much opportunity out there. If you are intrigued by marketing, by helping businesses grow, that’s the central tenant.

Are you naturally curious and do you want to help businesses grow? Great. We can do that through marketing consultation. We can look at data and can help customers understand how they can put together a strategy through marketing. Then we apply the right asset. If we start with helping a client solve their challenge, putting together a creative solution to help them win in a marketplace.

Of course, we can apply our over the air radio assets in addition to the other research data and digital services that we have. If you say hub and spoke, you might have four stations in the market. Maybe it is OTT. Maybe it is another digital service and so on.

The fact is that you have the ability to truly help solve a client’s challenge and be their partner now more than ever. In radio, we’ve been around for 106 years, right? That’s what’s amazing about this business. We’ve remained relevant, local and trusted. There have been so many people over the years I’ve seen go work for potentially one digital asset, or one emerging piece of technology.

Unfortunately, maybe they skip around because they’re selling one piece of a marketing solution. We offer it all and teach our people how to be marketers. We have a consultative process. Then we’re able to start with radio, than any of the digital services and research we provide to help customers win. There’s not a place you can go to do that. Radio has the largest reach of any of the local media possible. So, when you start with that foundation, it’s unbeatable.

John Mamola: It’s not an easy job to be president because you have to oversee everybody. I’m sure you have to devote time to each of your individual markets. So how do you balance your time and day to day?

Rob Babin: Things can change at any given moment, so you have to respond. But I focus on prioritizing what’s the biggest impact I can bring to the company and the people that I serve. I still have one-on-ones with my direct reports, which are the market GMs and our corporate team to make sure that I’m there with them individually engaged at least every other week. Then, I have leadership meetings and try to make it impactful where we can share where we are and where we’re going, and gain input from the markets.

I also spend time in the field. Being in the markets. Meeting with people and our customers helps keep a pulse on the business.

John Mamola: We’re in the fourth quarter of the year. What would you say have been the toughest challenges of this past year? Also, what have been the biggest positives so far in 2026?

Rob Babin: A general industry issue, which is what we’re also feeling, is national revenue has been a challenge. As we continue to work as an industry to solve some of the attribution and opportunities there, I think we can help to make it better at some point.

But the strength is local. The strength is that our local teams continue to grow. Both in share and our actual direct core business. We need to double down on local and the thousands of businesses in our community that need our support. In times like this, this is where they’re most confused. This is when their world becomes most complex.

When we show up as a Cox Media Group media consultant, we’re there to share data and research around how they can win in the marketplace. We truly approach it that way. It’s why we’re growing our local direct business.

John Mamola: The biggest complaint I would always get from sellers and my former market manager was I never have enough time to listen. How do you make time in your role as president of the company to keep an ear on that local presence?

Rob Babin: You could probably ask some of my program directors but I’ll actually send a note. Usually it’s positive, or asking about any challenges. Of course, I work with a strategic team, but usually it’s more of I try to catch someone doing something right. So, they also know that I’m listening and I’m a fan of our own brands.

Obviously, it’s hard to listen to every station, but I do have our apps all saved. I try to listen, especially when I know that certain dayparts, shows, or there’s a special event happening. I try to stay in tune and be a consumer of our radio brands.

John Mamola: I saw a recent interview with you talking about how you’ve been involved with hurricane coverage with certain markets in the company. You discussed how you enjoyed being present and participating with your teams in instances like that. Can you explain why that’s important to you with your time spent in markets such as South Florida and Atlanta?

Rob Babin: I was the general manager running our Miami cluster, and Hurricane Ivan that was coming through. At that time, it was a category five barreling down on us in South Florida. We did a really good job of having business continuity planning in advance. We activated our plan and had our employees go to safety at a hotel as a couple million people in South Florida did the same. I felt it was my duty to stay with the team.

Leading by example, I felt it was important to be there for them. I’m sure they were concerned. I’m sure they were wondering how important it is what they were doing. Whatever it needed to be, I wanted to be present with them and help make calls as needed if we lost communications. It was pretty critical and I was proud of our team. All of our stations stayed on the air at the time. Once the hurricane passed, we had FEMA, sheriffs, and community leaders in the studio ready to go right after that storm passed.

Fortunately, we didn’t get the full on category five. But we did feel the impact.

John Mamola: AI is the biggest unknown right now in radio. Are there any concerns on your part that people are going to get to a point where the listener may not be able to tell, but also may not care that what they hear on the radio is AI? As you know, it’s becoming more normalized in our society day-to-day.

Rob Babin: We’re not airing anything AI over the air. We made a commitment early on that we were going to be human centric. That human connection remains our ultimate differentiator.

We made a very early determination on that. If all of a sudden, we start with one song, day part, or whatever it may be as AI, before long, it becomes a full day part, a full week, and so on. Then what’s the difference between broadcast radio and the internet at that point? Can you really trust what you’re hearing? We have to maintain the relevance, the trust, and the confidence of our public.

The airwaves don’t belong to us. They always belong to the people. Our job is to make sure that we’re stewarding those airwaves in the right way. I truly believe that at CMG, but also as broadcasters, we should keep that credible and trusting to the public.

That means that we don’t have content that’s AI driven.

Rob Babin Group Shot (Social Screenshot)
Rob Babin Group Shot (Social Screenshot)

John Mamola: With that said, every executive is exploring ways to use AI in their day to day. What’s the use of AI within the walls that’s not on-air for you and Cox Media Group?

Rob Babin: I’m personally using it just to understand it. We use Copilot as an operating system within our business. It’s made our team more effective in helping to prioritize some of the workflow that they’re working on in the sales process. There are some really good use cases in the very early stages that we’re seeing around, for example, Copilot. It’s built into all the Microsoft desktop and platforms that we work with.

A lot of our vendors are working with AI solutions to help us become more efficient for this fact of making us more compounded or more effective moving forward. That’s where I see AI as an extremely good use. But when it comes to our content, no. That’s not something we’re going to do.

John Mamola: I’m sure you saw the latest Share of Ear research discussing the rise in the on-demand experience. Linear formats have lost the majority that they held for a while. When you look at that kind of data, what elements do you use to pivot from a strategy standpoint when it comes to navigating how to address that growing trend?

Rob Babin: I’ll go back to hub and spoke theory. If you start in the center and say we’ve got to have great talent and great content, it’s a start. If you’ve got that, then you can say let’s go from here. Let’s go broader with our distribution. Whether it’s on-demand, podcast, video, whether events, or whatever it might be. That’s where we’re focused.

We’re more focused on ensuring that our primary business is successful targeting our audiences. Also, morning shows are at their top notch and so on. Then from there, enhancing our engagement on the audience through video, on-demand, podcasts. That’s where we need to move. The audience doesn’t see it as AM or FM. They see it as audio. It’s a brand or a talent.

The focus for us is ensuring that we remain focused on developing our talent, making sure that we have the strongest possible brand, and then distribute it on different means. Whether that’s video, podcast, on-demand or whatever it may be to ensure that we’re engaging and growing our audiences.

John Mamola: When you’re trying to identify who the next leaders are within the company, what are the qualities that you feel those candidates have to have in regards to radio, media and audio in 2026 and beyond?

Rob Babin: You have to be resilient, positive, and understand that the only constant is change. Embrace it and understand that challenges come our way. We’ll continue to problem solve finding ways to improve or evolve.

The best talent is always focused on being a user. If they’re a talent on the air, are they waking up every day wondering how to improve or entertain their audience? If it’s a salesperson, are they waking up every morning thinking about how am I going to improve or grow my customer’s business. That is something that can’t be hidden. You can see it. Everyone that works with that person can see that they’re waking up with a passion.

As a leader, are you focused on growing your people? Are you investing in your own growth, development as well? Is this your profession and do you want to make an impact?

You can say hard work and all those things but at the end of the day, it’s the individual that’s beyond themself. They’re thinking about either their customers, audience, community, peers, leaders, direct reports, and the organization. Are they focused on growing and developing the end result.

John Mamola: Looking ahead to 2027, what is the single biggest mission statement for the company moving into next year?

Rob Babin: For Cox Media Group, we’re continuing to focus on combining our innovation. Being forward looking while evolving our business. Keeping the core of our trusted local brands is differential and needed in this one-to-one fragmented media world.

This mass media that we are in is important. We have to continue to find ways to grow our audience and connect to different platforms. We must stay focused on the communities we serve, local audiences, and being relevant to those markets. We’ve been around for 105 years. We expect to keep moving forward.

From an advertiser perspective, when complexity grows, it’s an opportunity to meet with businesses, and provide services whether it be workshops or seminars. We can help businesses understand marketing and how it impacts their business. If we stay focused there, we’ll continue to grow our business until we can’t.

To learn more about Point-To-Point Marketing’s Podcast and Broadcast Audience Development Marketing strategies, contact Tim Bronsil at tim@ptpmarketing.com or 513-702-5072.

The Industry According to: Chris Nilsson, 10th St Entertainment

Thank you for checking out The Industry According To. Every Wednesday, we speak with a different expert or leader from somewhere in the vast music industry — label executives, artist managers, programmers, talent, artists, consultants, and beyond. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.

Today we sit down with Chris Nilsson, President of 10th Street Entertainment, one of the music industry’s leading global artist management and marketing companies.

Chris has spent more than two decades in the music business and became President of 10th Street in 2014. He has served as a primary manager for Mötley Crüe and Nikki Sixx while helping guide the growth and development of artists including Five Finger Death Punch, Ice Nine Kills, Bailey Zimmerman, Breaking Benjamin, Papa Roach, Dorothy, Bad Wolves, Hollywood Undead and In Flames.

His route into management began inside radio. After working in a station promotions department, Chris attended a music convention, read David Geffen’s biography and decided artist management was where he belonged. He later earned an MBA from USC’s Marshall School of Business while building his career at 10th Street.

Today, the company operates across artist management, touring, marketing, merchandising, brand development, books and film. Its work has helped transform artists into global businesses, turn The Dirt into another major chapter for Mötley Crüe and build Ice Nine Kills’ horror mythology across music, merchandise, conventions and film development.

Chris brings a global view of the music industry — from what it takes to break a new artist to how careers are extended across decades and businesses are built far beyond the music itself.

So, let’s dive in.

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

From Banner Hanger to President

Keith: Your music industry journey started in a radio promotions department, and now you’re president of a global artist management and marketing company. Was there one defining lucky break — and what’s the elevator pitch on how you went from radio promotions to running a company like 10th Street?

Chris: I think anyone in my position is the product of lucky break after lucky break. I was born to educated parents who instilled in me a curiosity about the world, the value of education and a work ethic. I went to a good college with other people who helped me get my first job in the music business. I was fortunate enough to get a job at a young age with a company like 10th Street Entertainment, where I had the opportunity to learn the ropes with several globally successful artists. I could list 100 more examples like this. And I’m not even the luckiest of the bunch. There are many managers and label execs whose parents were, or still are, in the industry and laid all the tracks for their kids. I didn’t come from that world. I grew up in Omaha, Nebraska, and had to figure out how to get to one of the coasts so I could do the job I’d always wanted to do. But anyone who says they are solely the product of their own intelligence and/or savvy is fooling themselves.

My best advice to anyone is to immerse yourself fully in the culture and the industry in which you wish to participate. There is no substitute for getting out there, getting off the computer and phone, and building trust with the folks with whom you wish to do business.

The Most Important Job

Keith: An artist manager’s day can include everything from bailing a guitarist out of jail to negotiating a stadium tour, avoiding bad press or developing a partnership with Pepsi. Strip away the emergencies and one-offs: What should a great manager spend more time doing each day than anything else?

Chris: The best managers know how to spin straw into gold. That is our only job beyond the day-to-day machinations you mention in your question. If you don’t create opportunities for your artists that lead to growth, you won’t remain their manager for very long. Shep Gordon is a great example of this. He was constantly thinking about how to get more attention for his clients. He was constantly coming up with stunts to cut through the clutter. He recognized which elements of the artist needed cultivation and exploitation, much like a great sports coach. I suggest that every young manager I work with read Supermensch, because if there were ever a bible whose primary message is “this is what a good manager does,” it’s that book.

Most managers aren’t very good ones because they don’t have a vision that extends beyond answering emails and saying “no.” But the best ones get off their phones and laptops and consistently answer the question, “What have I done today to make a difference in my client’s business?”

Building From Zero

Keith: Great music may get an artist’s demo onto your desk, but it clearly isn’t enough to build a career. When 10th Street considers taking on a developing act, what else are you looking for before signing them to the roster?

Chris: I think we have been far too conditioned to look at numbers when evaluating new artists to sign. And while numbers can be a useful metric for determining whether an artist can find an audience, they are often misleading. An artist must have something to say. The job of the artist is literally to tell the world how they feel, so those thoughts must be conveyed with some novelty and carry meaning that resonates with people. The internet, American Idol and all the other singing competition shows have convinced the public that anyone can be a successful musician. And that may be true for some — Kelly Clarkson has a hell of a voice. But I suppose I’m a little old school when I say that an artist had better be able to play instruments, write music, write lyrics and sing well if we’re going to have success with them. It takes a long time to develop a career, and as a management company, it costs a lot to invest in an artist. I believe in stacking the deck when it comes to the overall talent profile of our clients.

Radio’s Real Value

Keith: Much of 10th Street’s roster operates in rock, where stations have become increasingly conservative with new music. In a manager’s business plan today, how important is radio — and if radio stopped playing currents tomorrow, how much would it hurt the artists you manage?

Chris: Radio will have value until the last listener turns it off. As long as there are people listening who want to hear music, it will be a benefit to artists and the industry. And because people are still listening, our artists would suffer were it not an available part of the mix.

Is Music Now the Marketing?

Keith: The funnel has flipped: album sales were once the center of the artist’s economic world, with touring and merchandise built around it. Today, artists are much more reliant upon tickets, merch and partnerships. Has the music itself become the marketing engine for a much larger artist business?

Chris: I don’t think it’s a zero-sum game. For some artists who have big careers, I’m sure the music is still their biggest source of revenue. But I do think the music CAN be the engine for a more comprehensive business with other revenue streams. I was at Nordstrom the other day, trying to buy pajamas for my five-year-old, and I walked by the cosmetics section. What stuck out most was how every model for every product was recognizable. That didn’t exist at this level in the ’90s, when I was in high school and college. Plus, successful music careers have now been parlayed into this weird investment/Silicon Valley culture where musicians flex about how early they were on X, Y or Z tech company. All that makes me slightly nauseous, even though I understand the appeal and would make the same decision were I in that position. But I also think it distracts from the primary goal of the artist, which is to check the culture on its values, provide a lens into what works and what doesn’t in our society, and show how we might change it for the better. We just saw this with Ed Sheeran and the Robert Kraft debacle. When you’re on the take, your role as a mouthpiece for our culture is diminished or destroyed, if it even existed in the first place. I can tell you one thing — Bob Dylan, Neil Young and Joni Mitchell would’ve told Robert Kraft to go back to the massage parlor from whence he came and stick Gillette Stadium up his ass.

Paying Streaming Dues

Keith: Are streaming services fairly compensating artists — or are artists getting ripped off? Explain how you see the economics.

Chris: I think you can find examples that support both arguments. I know a lot more middle-class artists today who would never have been able to make a living before streaming. I also know a lot of really successful artists who look at their statements and say, “How am I getting paid so little?” But I started in this industry listening to its death rattle. I wrote my economics thesis on Napster. The iTunes Store was a relief, but it certainly didn’t save the industry. I think the streaming platforms have breathed new life and democracy into the artist business. Before, artists HAD to get their product into stores. They had to get it manufactured. They had to sit on inventory if it didn’t sell. The consumer couldn’t sample the product they were being asked to pay $18.99 for, except for the song they heard on the radio. Do we still have to figure some things out with the streaming model to make it fairer to artists? Absolutely. But I am also a big believer in it, both for artists and for the consumer. It ultimately gives everyone more choices and removes gatekeepers. That can only be a good thing.

Touring’s New Math

Keith: Touring costs have skyrocketed, making it very challenging for newer artists. They need to be on the road to build an audience, but being on the road can bankrupt them. How do you approach touring in 2026 when an artist needs the exposure but can’t afford to lose money indefinitely?

Chris: The cost of touring has increased dramatically for all artists, not just new ones. There isn’t one system or philosophy we employ for all artists, as they are all different, but in many cases we try to maximize the income they make from merchandise sales and VIP offerings, for example. But merchandise and VIP programs have no value if fans haven’t bought into the artist yet, so we try to build some kind of fanbase or community before going on the road, even as a support act. Apropos of the last question, I think streaming has really made this possible — building demand before slugging it out in a van and in sweaty clubs. So I suppose the method we employ is: a) let’s try to cultivate some fans first; b) let’s try to go where those fans are; and c) if we do tour, let’s maximize the income from every performance so the artist doesn’t lose their shirt.

Which Is Better?

Keith: All three are great, but if you can choose only one #1 for one week, which do you choose and why?

  • #1 video on TikTok
  • #1 song on a major streaming platform
  • #1 song at the artist’s radio format

Chris: I think we’ve seen a lot of evidence that a #1 video on TikTok would be the biggest driver, to the point that I think #2 and #3 are often byproducts of a successful short-form video campaign.

Which Is Harder?

Keith: Which is harder: keeping a legacy band relevant or breaking a new one — and why?

Chris: They each have their challenges and barriers. With legacy bands, age can throw a wrench into the activities that go into staying top of mind. Older artists have spouses and kids at home, so touring is often competing with those demands. Older artists have more vocal and other health challenges. Older fans aren’t as engaged on the social media platforms that drive consumption and relevance. Older fans don’t care as much about a legacy artist’s new music. I could list many more.

Breaking new artists is challenging in an entirely different way. There is so much competition these days, and not just among musicians. Artists must compete with EVERYTHING on the internet — news, cat videos, Real Housewives fighting in the comment section of a particular post, ads for James Talarico. It takes a lot to cut through all that noise and get someone to listen. Oftentimes I want my wife to listen to a new song, and I can’t get her attention, and she LIVES IN MY HOUSE. I’m sure some other married people can relate.

The Missing Middle

Keith: The music business seems divided between artists doing enormous business and talented acts struggling to make ends meet. Is the industry losing its middle class? If so, why — and what would create a more viable path from a struggling side hustle to a sustainable career?

Chris: I have no idea what the data show, but I know more middle-class musicians today than I did 20 years ago. And these are musicians who can make and record music in Fond du Lac, Wisconsin, put it online, have it consumed and get a larger paycheck than if they worked at Alliance Laundry Systems (this is a real corporation in Fond du Lac, Wisconsin — I googled it). But again, only the data will tell us the real story, and I have no idea what it says, so my perspective is entirely anecdotal. As for what would create a more viable path, I think the marketplace rewards those who create things of value to that marketplace. That means the artist must say something unique yet universal. There are obviously examples over the years of artists we think tick those boxes who were ultimately ignored, but I also think that succeeding in any industry requires some degree of excellence, and most folks trying to make it in music are simply not excellent in the same way most people who play basketball are not LeBron James.

Do Artists Still Need Labels?

Keith: Artists can record, distribute, market and sell directly to fans without a traditional record company. Looking into 2027 and beyond, when does an artist genuinely need a label — and when might that merely be signing over some control and cash without adding enough value?

Chris: Every artist is different. Some need labels and some don’t. One client of ours did a distribution-only deal on their last record and hit it out of the park. But they couldn’t have done that without a management company such as ours, as we provide a lot of the in-house services one might get at a record company. Other artists need the A&R, passion and manpower some labels provide. I do believe the music business is still a very human business, as success is often dictated by the level of passion of the actual people at the organization. The most successful label relationships I’ve had have been with organizations that are well run, that have a clear vision and that have a leader who is respected by the staff. If that doesn’t exist, you’re toast.

Country and pop appear to be the genres most reliant on the traditional label system. Those formats are still highly radio-dependent, and when you have hit artists with massive global footprints, the manpower of the traditional label becomes crucial to spreading the artist’s music into every corner of the globe.

The Band or the Brand

Keith: Ice Nine Kills has essentially built its own horror franchise — a master class in authentic brand extension. Most artists now want similar extensions and partnerships, but fans can smell a forced deal immediately. How does 10th Street ensure that any brand extensions are beneficial for an artist’s long-term career rather than merely creating next month’s paycheck?

Chris: The misconception is that a brand can be extended like Ice Nine Kills’ with the wave of a wand. Spencer Charnas (of Ice Nine Kills) loves horror movies. Horror movies and the surrounding culture are as much a part of him as his arms and legs. He is also one of the hardest-working people I have ever met. It is absolutely incredible to watch. He wakes up early, goes all day and all night, and repeats that process the next day. If he has a weekend off, he goes to a horror convention and meets fans and signs autographs for three days straight. He tours constantly. He has great ideas and never tires of coming up with them. This is what it takes to do what he has done with Ice Nine Kills. As a management company, we have bought in 100% to his vision and have built systems and infrastructure to support that vision. Through that marriage, Ice Nine Kills has successfully expanded its brand into many different and lucrative areas, but this cannot be done with just any artist. And it MUST start with the artist and their vision, or it will smell inauthentic. We are a pretty forward-thinking and effective artist management company, but the seeds must be there in the artist or we cannot do our job.

What’s Keeping You Up at Night?

Keith: 10th Street represents a lot of artists and employs a lot of people, while the music industry remains volatile. What’s keeping you up at night, business-wise?

Chris: Interest rates, the AI bubble, oil prices, tech company overlords, oligarchs and our employees’ cost of living.

Crisis Moments

Keith: You can keep names out of it if necessary, but what’s the toughest moment you ever had to manage an artist through — and how’d you do it?

Chris: I don’t know if it’s the toughest, as I’ve blacked out many of them, but we had a big tour out in Europe when the Bataclan terrorist attacks in Paris happened. We were slated to play the next night when the hacker group Anonymous published a list it had intercepted from ISIS operatives that named our show in Milan as one of the next targets. Many crew members and one of the acts refused to stick around, and the tour’s insurance conveniently excluded terrorist “threats,” as opposed to terrorist “attacks,” from coverage. So the tour was in serious danger of bleeding out. I don’t recall a lot of the specifics of how we solved the many problems, but I do recall being up for about three days over a long weekend. The only way to deal with something as serious as that is to remain as calm as you can, gather all the facts, identify the options and present them logically. Managers are not magicians in this sense, but any crisis requires immediate leadership — someone who knows how to conduct the orchestra. You’re dealing with business managers, agents, insurance brokers, crew members, lawyers and, of course, your client(s), so somebody needs to be the one to wrangle everyone, keep them informed, get their opinions and information, analyze everything and make decisions. Without that, you just have a lot of people milling about, unsure what to do next, which is a death sentence in a fast-moving, highly volatile situation.

The Blank Slate

Keith: Last question — blank slate. Say anything you want to any sector of the industry. What do you want them to hear?

Chris: Art has never been more important in our society than it is today. There is so much information, most of it garbage, and great artists can help humanity sift through the bullshit to find the truth. Support artists. Support art. It is necessary for our survival as a species.

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