Thank you for checking out The Industry According To. Every Tuesday 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 appear as a future guest, email me at keithblackboxgroup@gmail.com.
Today we pivot from the one-on-ones to talking with a trio of National Promotion Directors at Columbia Records: Kathleen Broderick (San Francisco), Kesley Ditullio (Austin), & Chris Sottile (NYC)
As you can imagine, all three are razor-sharp and come from very different backgrounds — other labels, radio, and much more. Together, they team up to take us inside Columbia and share their view of the industry.
So, let’s dive in.
*Editor’s Note: Answers have been edited for clarity and length.*
Is It What You Thought?
Keith: When you were younger, you probably had an idea of what the record industry and being a National Promotion Director would be like. How does what you thought it would be compare to the reality?
Kathleen: Coming from the radio event world, I only saw the glamorous side of promotion — the shows, dinners, and summits. In reality, it’s a 24/7 grind of strategy, data analysis, and constant pivoting. The glitz is fun, but the true fulfillment comes from the behind-the-scenes hustle required to actually break records.
Kesley: When I started in this business, the role of a National was highly specialized. As the industry has changed, the lines between positions have blurred, and we’ve had to broaden our knowledge base and become more versatile. This allows each of us to create our own value and impact across territories, formats, and radio groups.
What’s the Most Important Skill?
Keith: Your job requires a wide skill set — from business and marketing strategy to analytics to navigating egos and everything in between. What’s the single most important skill someone needs to succeed as a National Promotion Director?
Chris: Relationships matter. Analytics matter. Being able to speak the language matters. But I think the most important skill is knowing how to take initiative. You need to be able to operate independently and take ownership over your relationships, territories, and priorities on a weekly basis.
Kesley: Flexibility and the ability to adapt to a changing environment. Being able to successfully collaborate with a wide range of personalities and finding balance within each pitch is equally as important.
Keith: In radio, people love to say every market is different — what works in one city might not work in another. Coming from three very different territories, is a hit basically a hit everywhere? Or can you give an example of something that worked in one of your territories but not the others — and why?
Kathleen: Hits can, and often do, start in different regions of the country. What works in San Francisco may take longer to gain traction in Green Bay. But ultimately, with hits at the highest level, it becomes universal.
Chris: A great recent example of this is Ella Langley’s “Choosin’ Texas” at mainstream radio formats. We watched that record start locally and spread across the country, and it continues to grow every week. Country is an obvious example, but any time we launch a record, we have the analytics, knowledge, and expertise to identify where a record is most likely to connect first, and let that momentum spread. Every song starts somewhere, and the biggest ones end up everywhere.
How Important Are Relationships?
Keith: I’ve heard of people getting hired because of their relationships, but can a strong relationship get a mediocre record off the ground? Or does it still begin and end with the song itself?
Kesley: A strong relationship can definitely get a record off the ground. But in order to sustain momentum and ultimately drive a song up the charts, it needs to be a hit. You can’t fake that — the audience always lets you know in the end.
Kathleen: Relationships will always be the foundation of how we do this role. But that’s only one part of it — you need the full package to deliver a hit. And it all starts with a great song.
What Data Points Guide You?
Keith: In your roles, you consume an incredible amount of data each week — adds, spins, downloads, sales, impressions, search, engagement. What’s the first data point that tells you a record may be on an upward move?
Chris: I don’t think there’s any one metric that comes “first.” Every song has a different story behind it. It’s our job to identify the most compelling and authentic parts of that story early on. Whether it’s streaming, social engagement, touring, or something else — when multiple data points start moving in the same direction, that’s when you know something real is happening.
Kesley: The data we choose to emphasize in our pitches can also change over time. Early on, we may point to a viral streaming story, but months in, we may be highlighting a sold-out arena tour, radio research, or audience growth. The key is knowing which metrics matter at each stage of the record’s development.
Radio vs. Everything Else
Keith: You’re responsible for helping drive the success of a song or artist across many platforms. What’s radio’s primary role in 2026 when it comes to breaking a song or artist?
Kathleen: Amplification and longevity. Done correctly, a proper radio hit stays on the radio for a long period of time. The audience numbers snowball over months, and every new pair of ears opens the door to expand an artist’s core fan base.
Chris: Radio also has a growing role in industry-standard charts, particularly the Billboard Hot 100. But beyond that, radio has the ability to reach people across the country who are otherwise difficult to reach. The audience numbers we track every week are absolutely massive.
What Programmers Get Wrong
Keith: You work with radio programmers every day. What’s one thing radio PDs consistently misunderstand or “don’t get” about promotion or the job you do?
Kesley: I think, specific to our approach at Columbia, we’re not asking you to play records that we “hope” work. We’re coming to you because we’ve done our homework, and we know the art we have deserves to be amplified.
Kathleen: Working a record at radio requires a lot of resources — not the least of which includes time and energy from our team and the artists. We don’t ask our partners to trust us on something unless we’re absolutely sure. And if we’re wrong, we know how to identify that quickly too.
Chris: There’s a formidable machine behind us at Columbia Records. To radio PDs, it may seem like a song or artist is “falling out of the sky,” but that is the result of months — sometimes years — of hard work from the departments that make up the label. By the time we’re calling about a record, a tremendous amount of groundwork has already been laid.
The Blank Slate
Keith: Last question — everyone gets a shot. Blank slate — say anything you want to any sector of the music industry. What do you want them to hear?
Kathleen: Radio has evolved over time, and promotion has evolved over time. But as we’ve all learned from our boss Peter, breaking new artists and elevating the careers of superstars is our number one task. Ask any artist who has heard their song on the radio for the first time — there’s nothing like it.
Kesley: POP isn’t defined by a specific sound. It is a collection of the most POPULAR songs, regardless of where they started. Once something reaches critical mass, genre is far less important than audience connection. Think about how many number one records would never have gotten a chance if programmers hadn’t taken a risk on something that sounds “different.”
Chris: We have more information than ever before, but the goal hasn’t changed. Great songs still connect with people. We collectively have an opportunity to use that information to make smarter decisions, identify momentum earlier, and move on records faster. That benefits everyone.
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