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Football Streaming Solutions To Save Your Bottom Line

John Lund
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Football Streaming Solutions To Save Your Bottom Line

You used to need two things to watch football: a couch and a cable box. That was it. The box was clunky, the remote always missing batteries, and the bill made you grumble. Nevertheless, flip on CBS, FOX, NBC, or ESPN and there was football waiting.

Problem was, you were at the mercy of the football gods for the game of the week in your area. Roll the dice. Could be a playoff-deciding Cowboys-Eagles matchup, could be a draft-positioning Saints-Falcons tilt—but at least it was simple.

Now? Football is everywhere and yet somehow harder to find. The NFL has carved up games across YouTube TV, Prime Video, Peacock, Netflix, Paramount+, and ESPN. College football is just as messy—ESPN, FOX, CBS, NBC, SEC Network, Big Ten Network, ACC Network, and their newly arrived streaming cousins. If you want every single game, you’ll need six apps, three passwords, and about $1,500. The upside? For the first time, you can actually see everything instead of just whatever your local affiliate fed you.

If you want every NFL and college football game, here’s what that looks like in today’s new ESPN-dominant, FOX-and-streaming, Prime-and-Paramount, insert-conference-network-here world.

The Cost for Football

For NFL coverage, you’ll need a base live-TV streaming service like YouTube TV or Hulu—around $85 a month—which gives you CBS, FOX, NBC, and ESPN for local and primetime games.

Add NFL Sunday Ticket for $276 per season to cover out-of-market games. Next, sprinkle in Prime Video ($8.99/mo) for Thursday Night Football, Peacock ($10.99/mo) for Sunday Night Football, Paramount+ ($7.99/mo) for CBS coverage, and Netflix ($7.99/mo) if you want a couple of Christmas Day games.

RedZone comes along with Sunday Ticket or is included in many live-TV bundles. It turns Sunday afternoons into a touchdown-filled adrenaline rush for gamblers and fantasy types alike.

College football is similarly splintered.

ESPN Unlimited ($29.99/mo) now carries almost everything ESPN-related, including ESPN+, the SEC Network, and ACC Network. Fox One ($19.99/mo) covers Big Noon Saturday games and Big Ten action. You can bundle it with ESPN Unlimited for about $40.

Peacock and Paramount+ give you NBC and CBS coverage for select matchups. Meanwhile, ESPN+ provides the college version of RedZone, perfect for the whip-around shows that keep you in all the games at once.

Got all that? There will be weekly quizzes when you’re trying to find your alma mater’s games, and “regional tax” charges that will have you scratching your head all season long.

Put it all together and the math adds up:

NFL coverage alone will run about $875 a year, college football around $600–700, and if you want both? You’re looking at $1,400–1,600 for the full buffet.

I hear DoorDash is hiring drivers in your area during the week so you can watch football on weekends.

Three Solutions To Consider

Never fear—I am not just a person who identifies problems; I am full of solutions, among other things. So here are three ways to get the most football for your buck this season:

“The All-In Simplicity Package” ($150/month)
This is your “don’t think, just watch” option: YouTube TV plus Sunday Ticket, ESPN + Fox One bundle, Peacock, Paramount+, and Prime Video. You’ll get every NFL and college game, RedZone, and college whip-around coverage. It’s the priciest at about $1,800 a year. However, it’s one-stop shopping for the diehards.

“The Savvy Cord-Cutter” ($102/month)
If you’re willing to juggle a few apps, an OTA antenna ($40 one-time) for CBS/FOX/NBC/ABC plus ESPN Unlimited, Fox One, Peacock, Paramount+, Prime Video, and Sunday Ticket gives you everything at a lower cost—about $1,200 a year. You save $600 versus the all-in package, but yes, there’s a lot of password hopping.

“The RedZone/Whip-Around Specialist” ($90/month)
Hulu ($82.99/mo) covers ESPN, SEC, ACC, Big Ten, CBS, NBC, FOX, ESPN+, and RedZone. Add Peacock ($10.99) for select exclusives. You’ll see 95% of games without juggling six apps—around $1,100/year. It’s the cleanest compromise for fans who want almost everything without the headache.

    The question is: are you better off now?

    Well, your football side is full, but your wallet is skimpy. Back then, you paid less, but you missed a ton. You saw the regional game, and if your team wasn’t good, tough luck. Now, you pay more, but you can see everything—every touchdown, every upset, every late-night after-dark thriller from Boulder to Honolulu.

    It’s the classic deal with the devil: money for access.

    If you’re happy with just your local team and a marquee matchup, a single streamer or antenna can do the trick. But if you’re a football junkie who treats Saturdays and Sundays like a 20-hour buffet, you’ll need the full spread. Maybe, you’ll need a second job to cover it. The cost for a full season of every game is about $1,500. That’s roughly the same as 10 stadium beers. Your wallet might cry—but at least you won’t miss kickoff.

    The good news? Unlike the old days, you’ll never be stuck watching the Jaguars and Titans on a color-rush Sunday unless you want to.

    And if you do? Well, that’s on you.

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

    How Bussin’ With the Boys Went All in on College Football With Josh Pate

    John Mamola
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    How Bussin’ With the Boys Went All in on College Football With Josh Pate

    The college football season officially kicked off with the first full weekend of action underway. The demand for content surrounding the sport has never been higher. The sport consistently evolves with time. Conferences realign, and the insertion of name, image and likeness funding continues to roll in for athletes all over the country. To meet the demand for quality content, Will Compton and Taylor Lewan’s Bussin’ With The Boys brand has stepped up their efforts in expanding their digital footprint to cater to the college football fan.

    “We’ve always had a vision to continue growing and expanding. The fan base for college football is so passionate and loyal,” said Compton. “The conversations we were having. The way the fans were responding, showed us there was a lane for us to go all-in on college football.”

    Compton and Lewan announced earlier this month their first focused venture into the college game. They added The Locker Room: CFB. A spinoff of the popular The Locker Room series with a sole focus on the headlines, matchups and predictions in college football.

    To separate the already known commodity from their newest venture, Bussin’ With The Boys enlisted the help of college football insider Josh Pate.

    How Josh Pate Hopped on with Bussin’

    “It really happened organically,” said Pate of how he was approached for the program. “We see each other a lot, interact with each other throughout the week, and we’re all in Nashville.”

    Pate has been a growing voice surrounding the sport since landing his first job in sports media hosting on a local ESPN Radio affiliate in Columbus, Georgia. A few years later, that position led Pate to host a show on WLTZ television as a news anchor. After turning down a contract extension at the local television station, Pate followed his passion for college football. He began his own YouTube channel, which launched him into working over time with 247Sports, CBS Sports and On3.

    This summer Pate has expanded his work, owning his own IP, and reshuffled an already stacked portfolio with one of his landing spots being with the emerging Bussin’ With The Boys brand.

    “I somehow found time to get married and make trips to 16 different campuses during the spring as well,” Pate joked. “I’d say this spring and summer have been busier than any actual football season I can recall. It’s extremely rewarding though.”

    The growing spotlight for Pate was no stranger to the Bussin’ With The Boys franchise. With all three living within the same Nashville metro area, it was easy to keep tabs on Pate’s growing network and reputation as a creator for college football analysis.

    “He’s a storyteller and one of the best personalities in college football,” noted Compton. “I reached out to him and started talking about the opportunities in the college football space. We realized we had a similar vision. He understood what we were trying to build, and it felt like a natural fit.”

    Growing the Bussin’ Portfolio

    The addition of The Locker Room: CFB adds another element to Pate’s growing digital arsenal. The current broadcasting schedule for Pate includes his College Football Show three nights a week live, while balancing taping an episode of The Locker Room: CFB among his other work with On3, Yahoo Sports and ESPN.

    “I imagine we’ll be able to fit a midweek recording of The Locker Room into that mix effectively,” said Pate. “That’s prime real estate in our business. The previous week is still relevant but the next week’s kickoffs are less than 72 hours away.”

    Despite the workload, Pate understands the reasoning behind it.

    “I view it as validation that our approach is working,” noted Pate. “The key is to stay focused on the season itself, which I’d say is the biggest risk you run with everything else happening around you professionally and personally.”

    For Compton and Lewan, it’s been a year of change. Following a five-year partnership with Barstool Sports, the duo took their podcast independent. Bussin’ With The Boys stated the move was due to a larger offer from a sponsor that they couldn’t pass up. Just a week after leaving the popular digital content outlet, FanDuel announced a multi-year partnership with Compton and Lewan, securing their footing after leaving Barstool Sports.

    “We have a ton of respect for what they’ve built [at Barstool Sports],” said Compton regarding his time there. “We’re focused on how we can get better and how we can continue to build our relationships with players, coaches and the entire football community.”

    With the first football season under a new partnership and fully independent, there is much to look ahead to for the growth of Bussin’ With The Boys.

    “We’re pumped about the partnership with FanDuel and excited to integrate their brand in a way that feels natural and valuable to our audience,” said Compton. “We’re looking to bring a new level of fan experience to the sports betting world.”

    This also marks the first football season where the Bussin’ With The Boys brand plays in the same spaces as their prior partner in Barstool Sports. While Compton says they don’t consider themselves to have any competition, the focus is still on point as football arrives.

    “We’re focused on creating content that we love and that our audience loves,” explained Compton. “As long as we stay true to that, we’re not worried about anything else.”

    Meeting Demands of Digital Media

    With Pate joining the Bussin’ With The Boys brand for football season, it’s another sign of creators teaming with creators to better serve audiences while cross-promoting one another. In the digital ecosystem those opportunities continue to exist. Ones that Pate has learned over time work for everyone involved.

    “Digital media has fundamentally transformed how I view distribution,” explained Pate. “A generation ago it was about which networks you could be on. Today it’s about organic and strategic collaborations. They have to be both, or the audience sees right through it. When it’s both there’s no substitute for what it can do in terms of visibility and scalability.”

    Strategic and organic, but authentic and honest. That’s the approach taken by Bussin’ With The Boys since their inception. This approach made Pate the right person to choose in expanding The Locker Room catering to college football on a full-time basis.

    “Josh has an unfiltered perspective that makes him great in the space,” said Compton. “He’s a professional who can break down the game in a way that makes sense to everyone. From the most die-hard fan to someone who’s just starting to catch on to the new nature of the sport. With NIL, the transfer portal and CFP news all circulating at the same time.”

    With the official kickoff of the college football season already underway, expectations are high for what’s to come from the collaboration between Pate and the Bussin’ With The Boys brand. Albeit it’s just sports, some fun will surely be had along the way.

    “I have to perform better than Will and Taylor picking games,” joked Pate. “Losing is not an option here, my pride would never recover. I’m laying it all on the line for the people.”

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

    Donald Trump vs. ABC and NBC Grabs Headlines, But the Bigger Media Fight Is Already Here

    Krystina Alarcon Carroll
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    Donald Trump vs. ABC and NBC Grabs Headlines, But the Bigger Media Fight Is Already Here

    The ending of Truth Social posts from President Donald Trump against the likes of ABC and NBC Sunday evening didn’t get as much attention as it should have.

    “Crooked ‘journalism’ should not be rewarded, it should be terminated!!!” he wrote.

    However, his initial post certainly did.

    “Despite a very high popularity and, according to many, among the greatest 8 months in Presidential History, ABC & NBC FAKE NEWS, two of the worst and most biased networks in history, give me 97% BAD STORIES. IF THAT IS THE CASE, THEY ARE SIMPLY AN ARM OF THE DEMOCRAT PARTY AND SHOULD, ACCORDING TO MANY, HAVE THEIR LICENSES REVOKED BY THE FCC. I would be totally in favor of that because they are so biased and untruthful, an actual threat to our Democracy!!! MAGA.”

    As did his follow-up thought: “Why is it that ABC and NBC FAKE NEWS, two of the absolute worst and most biased networks anywhere in the world, aren’t paying millions of dollars a year in LICENSE FEES? They should lose their licenses for their unfair coverage of Republicans and/or Conservatives, but at a minimum, they should pay up BIG for having the privilege of using the most valuable airwaves anywhere at any time!!! Crooked ‘journalism’ should not be rewarded, it should be terminated!!!”

    The left immediately went for the jugular. “Donald Trump Rages At ABC And NBC, Says They Should Lose FCC Licenses Over ‘Unfair Coverage,’” Deadline wrote. Other outlets like Raw Story went with headlines such as: “‘Should be terminated!!!’ Trump menaces ABC and NBC in midnight outburst.”

    Both Deadline and Raw Story are using inflammatory language, which is bad journalism. Words like “rages,” “menaces,” and “outbursts” not only give way to confirmation bias, but they also imply that his feelings are wrong. Remember, no feeling is wrong — but feelings don’t belong in journalism. So when the President (or anyone else in the world) gets emotional, you stay neutral.

    Meanwhile, the right took a more praising approach with headlines like, “Trump hits ABC, NBC as ‘FAKE NEWS,’ says he’d support FCC revoking licenses” (from the New York Post) and “Trump: Revoke ABC, NBC’s FCC Licenses for Dem Bias” (from Newsmax).

    The Post headline is a problem because he’s not physically hitting them. I don’t know when this became acceptable, but it shouldn’t be. The Newsmax headline is bad because — aside from giving the entire story away — it gives confirmation bias to their already right-leaning readership (which, again, confirmation bias is not news).

    A good, neutral, 70-character headline would have looked like the following: “Trump shows support for FCC to revoke licenses of two major networks.” It doesn’t give away the story and it avoids confirmation bias.

    President Trump is not wrong: “crooked journalism” should not be rewarded. However, as the left overreacts to the posts (and the right seemingly rejoices in them), the FCC isn’t going to take away licenses because journalists are protected by the First Amendment as well as a slew of other laws and legislation. Even if the FCC did take away ABC and NBC’s licenses, it wouldn’t matter—outlets no longer need the stamp of approval from the FCC to get their message out there.

    The FCC does not regulate podcasts, YouTube content, or any streaming service. Hulu, Amazon Prime, and Netflix aren’t regulated by the FCC. Disney owns Hulu, and they also own ABC. Removing ABC’s right to radio and TV won’t stop them from amplifying their other unregulated products.

    The unregulated content world has become more of a competitor for last century’s news outlets (yes, even the digital-first platforms from the 1990s). Your first problem now is unregulated content creators who are not just stealing your piece of the proverbial pie—they’re stealing your piece of the pie and then selling it to the audience after they’ve chewed it up and spit it out.

    Think about it. Websites like TV Eyes, Meltwater, and CisionOne roll on your content and get paid by content creators so they can clip it up, place it in a video, and then either give their opinion on your words or show how your outlet is skewing the news to the left (or right). Then your bookers take those same people and put them on a TV screen, calling them “experts” (a term I hate) because they have some sort of large following—a following they built off of your content.

    Sure, it may seem like they need you, but you can be replaced. CNN’s gone? Fine, I’ll go to MSNBC. No Newsmax? No problem, I’ll go to Fox. These creators don’t believe in your message—they believe in their own.

    Then these creators evolve, and they become your second problem. The person you used to book as a guest is now a host. (I’ve been told many times that the best talk radio hosts are the ones who used to call into the station because they are “tuned into that world.”) If they don’t want to renew their contract after you’ve built a following together, you are the one who loses.

    If they don’t re-sign with you after “making it big,” that talent can take your audience away and launch their own podcast or streaming show—living fully in the unregulated world, delivering their own message, and not dealing with big-box puppetry (which some, but not all, networks participate in).

    Take a look at Tucker Carlson, Megyn Kelly, Joe Rogan, and so many others who made it big after being on at least one network. They are all now saying (in an Eric Cartman voice), “Screw you guys, I’m going home.” (They can literally do what we do from the comfort of their own house now!)

    The future is coming fast, and it is unregulated, unfiltered, and loaded with George Carlin’s seven dirty words. The media is no longer about what outlet you work for but about who you — the “news personality” —are. People don’t even have to tell stories well. MrBeast adopted 100 dogs in 2023, and that video has more views on YouTube than the 2023 and 2024 Super Bowls combined.

    But what does this mean for you—the program directors, brand managers, presidents, vice presidents, and CEOs of media companies? It means you need to pivot, and fast. Today’s talent doesn’t need you, your big company, or your shiny lights and cameras to get their voice out there. Most of them don’t even need your money anymore either. You can literally do our job with just a smartphone.

    For the last two years, I’ve had the fortune to help private equity firms assess, evaluate, and determine what makes new media opportunities potentially viable before they hit the public market. Most are not. The most interesting models I’ve seen for media companies include a secondary market related to the industry.

    Some stations are already doing this by helping their clients make commercials. Others are leasing out unused sound booths to content creators. It’s a good way to stop the hemorrhaging, but I’m not entirely convinced it will save the big-box outlets.

    The fall of the media giants has already started. The FCC won’t be able to pull “crooked journalism” from the extreme left or extreme right off the airwaves, because they don’t need the traditional media airwaves any longer.

    You can’t crush the content creator (for now), so the selling point you need to make is simple: “How can I help you create?” Swallowing your brand’s pride and backseat driving for content creators might just be the only way you can save your brand—and instead of falling, take only a small tumble.

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

    YouTube and Podcasts Are the New Farm Team for News Media

    Garrett Searight
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    YouTube and Podcasts Are the New Farm Team for News Media

    For decades, the pathway to stardom in news media was remarkably similar to baseball’s farm system. You started in a small market, maybe anchoring the weekend shift when nobody was watching, and if you worked hard enough, you slowly climbed your way to the big leagues. Market 150 became Market 50, which became Market 10, which maybe, if you were lucky, turned into a call from a network. That system doesn’t exist anymore. The modern-day “farm system” isn’t Columbus, Des Moines, or Raleigh. It’s YouTube and Apple Podcasts.

    If you can break through there, cable news or a major network might come calling. But the ladder of working your way up through a newsroom has become increasingly irrelevant in building a national profile.

    And it makes perfect sense.

    Viewers aren’t necessarily finding talent through the 6 p.m. newscast anymore. They’re finding them through clips that hit their TikTok algorithm or podcasts that are easy to consume on a commute. The talent pool has expanded, the means of distribution are infinite, and the audiences are the ones who decide who rises and who falls—not news directors, not network executives.

    Think about Tucker Carlson. After leaving Fox News, he didn’t try to jump to CNN, MSNBC, or NewsNation. He went straight to Twitter/X, where his videos regularly get millions of views. Megyn Kelly is another prime example — her podcast has turned into a juggernaut that might rival the reach of her days on television.

    And then there’s the flip side: people like Ben Shapiro, Dave Rubin, or Crystal Ball and Saagar Enjeti, who never needed a legacy television platform in the first place. They built their brands on digital-first platforms and only later did traditional media outlets start viewing them as viable competition.

    The pipeline has completely flipped.

    Instead of national outlets grooming their next star internally, they’re scouring the internet for creators who have already proven they can generate an audience. In many ways, it’s easier for the networks. Why risk elevating a relatively unknown field reporter when you can plug in someone who already has a built-in fan base? It’s a safer bet in an industry where ratings and revenue matter more than ever.

    But that leaves traditional up-and-comers in a tough spot. The journalist grinding in Tulsa or the producer hoping to get on air in Nashville is no longer in a straight line to CNN or NBC. That track is nearly gone. They’re competing not only against their peers in local newsrooms, but against anyone with a microphone, a ring light, and the ability to connect with an audience online.

    That’s not necessarily a bad thing—it’s just different.

    Talent used to be filtered through gatekeepers. You needed a news director to believe in you. You needed executives to decide you were worthy of a promotion. Now, audiences get the final say. If you’re good enough, entertaining enough, or compelling enough, people will find you. And if you can consistently hold their attention, you don’t just become a star—you become undeniable.

    Cable networks and traditional outlets are simply catching up to what the audience already knows. For young broadcasters, the lesson is clear: stop waiting for the call-up. If you want to be a star in news media, you can’t rely on the old model of “paying your dues” and hoping the right executive happens to notice your 11 PM stand-up. You need to take ownership of your own distribution. Build your YouTube channel. Launch your podcast. Grow an audience on social platforms. Because once you’ve built an audience, the networks will have no choice but to take notice.

    That doesn’t mean the traditional pipeline is entirely useless. Local newsrooms still provide valuable reps and polish that creators don’t always have. Learning how to handle breaking news, deal with deadlines, and manage live shots isn’t something you pick up overnight. But in terms of visibility and upward mobility, local news has lost its role as the primary pathway to national stardom.

    We’re in an era where the “farm team” is no longer inside the industry—it’s outside of it. The next cable news star isn’t likely logging late nights at a station in Dayton. They’re already building a following online, speaking directly to an audience, and showing networks they don’t need traditional media to succeed.

    In fact, that’s the new currency. If you’ve proven you don’t need them, that’s when they’ll want you most.

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

    Inside Kat Fisher’s Role at 101.5 KGB-FM and Rock 105.3 KIOZ

    Charese Fruge
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    Inside Kat Fisher’s Role at 101.5 KGB-FM and Rock 105.3 KIOZ

    From her first internship at Seattle’s iconic KUBE 93 to becoming a vital force in San Diego radio, Kat Fisher is a perfect example of someone who didn’t just find her way into radio; she ran into it with open arms and hasn’t stopped sprinting since.

    Currently Assistant Program Director and on-air talent for both 101.5 KGB-FM and Rock 105.3 KIOZ, Fisher is leading with purpose, personality, and a rare blend of programming savvy and on-mic charisma.

    “From day one of my internship at KUBE, I knew radio was meant for me,” Fisher says. “The energy of the studios and the hallways was unmatched.”

    Kat’s radio career began at 19 with an internship in her hometown of Seattle. Over the next decade, she would climb through the ranks at iHeart Seattle. Overnights on KUBE 93, mornings on 106.1 KISS FM alongside legends Jackie and Bender, then middays on POWER 93.3. A format flip in 2018 took her to Boise, where she co-hosted mornings on a Top 40 station, before the pandemic sent the industry into a tizzy.

    Making the Move: Transition to San Diego Radio

    In 2020, Fisher made the move to San Diego, where she initially juggled a night show on Channel 933 with a role at TTWN. When Taylor Jukes arrived from Miami and tapped her for the Assistant Program Director role for KGB-FM and KIOZ, it became a game-changing opportunity for her and a shift in genre.

    “It’s been an incredible change of pace,” Fisher says. “Rock radio hits different. The audience, the legacy, the community. It’s been so energizing.”

    Juggling two heritage rock brands is no small feat, but Kat thrives in keeping each station sharply defined.

    “Each station has its own brand personality and talent,” she explains. “We make sure every element—music, imaging, promotions—is dialed into its audience. It’s about complementing each other, not competing.”

    On-Air and Behind the Scenes: Daily Life at KGB and KIOZ

    At KGB-FM, Fisher has become a fixture on the Big Rich, TD & Fletch morning show, which launched in Fall 2024 with a mission to connect directly with listeners. From weekly donut drops at local offices to live broadcasts and community events, the show’s goal is simple: get out, show up, and earn that #1 preset spot for iHeartRadio.

    Over at KIOZ, Fisher supports the programming and brand behind one of the most established Active Rock stations in the country. While also lending her voice to JAM’N 95.7, her roots in hip hop are never far behind.

    Community Connection: Beyond the Mic

    Beyond the airwaves, Kat’s stations are woven into the fabric of San Diego’s community. On KGB-FM, Clint August founded the “May Ride,” a motorcycle event now in its 24th year, raising funds for the Armed Services YMCA.

    Both KGB and KIOZ play major roles in the Warrior Foundation Freedom Station broadcast each year. And in 2024, iHeart San Diego helped raise nearly $500,000 in just two days for the Rady Children’s Hospital Giveathon, contributing to a collective total of over $ 3.2 million raised over the years. Fisher says these are the things that remind her of why she got into the business: connection, community, and service.

    Balancing Work and Life: Energy and Creativity

    When she’s not behind the mic or overseeing programming, Fisher is keeping the energy up—literally. She’s an indoor spin instructor at CycleBar, teaching three days a week. She plays as many sports as her schedule allows and sees movement as key to her creative flow.

    “It sounds silly to say you have to schedule creativity, but that’s the reality,” she laughs. “Time is the biggest challenge in this job. You have to make room for inspiration.”

    Her proudest accomplishments? Not just the #1 ratings books or market gains—but the moments that remind her she’s made an impact. “Every call, every listener message, every laugh we share, it’s those connections that mean the most. That’s the real win.”

    Fisher is bullish on the future of radio. Especially for young audiences and future radio leaders.“Gen Z spends nearly twice as much time with radio as they do with TV—that’s a real stat,” she says, citing Nielsen. “We attract them by showing that personality, local connection, and real community outreach matter.”

    Photo Courtesy Kat Fisher

    Her advice for those who want to be both on-air and behind the scenes. “Get in where you can and raise your hand as often as possible. A small role can lead to a big role—just be ready.”

    Follow Kat Fisher on Instagram/TikTok: @kitkatfisher and Station Handles: @1015KGB, @SDROCK1053

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

    Why Country Radio Can’t Ignore Pop Culture

    Jeff Lynn
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    Why Country Radio Can’t Ignore Pop Culture

    Everyone who has ever worked with me has heard it repeatedly. What are we doing to seize the moment? It probably goes back to my early days with Clear Channel when Jack Evans was my Senior VP Programming. When something big happened, Jack would make a call that started with, “What are we doing? Don’t disappoint me.”

    It just became something that was ingrained into my programming DNA.

    From viral controversies to celebrity milestones, these moments capture attention, dominate conversation, and, whether we like it or not, impact our audiences. For Country radio, the question isn’t whether to engage. It’s about doing it without losing its soul.

    Pop Culture Isn’t Just Gossip

    Take the Sydney Sweeney jeans controversy or the Cracker Barrel logo debate. At first glance, these stories might seem irrelevant to Country listeners. However, the reality is that audiences are talking, sharing, and forming opinions. Your station can either participate or get left behind.

    This isn’t about turning your morning show into TMZ. It’s about perspective. Country radio thrives on storytelling, authenticity, and connection. Viral stories can be framed in ways that reflect those values. A funny take, a relatable twist, or a clever tie-in can turn a fleeting headline into a moment your audience remembers.

    Engage, Don’t Just Announce

    Consider the Travis Kelce and Taylor Swift engagement. A one-line mention on-air barely scratches the surface. Instead, stations can create segments, contests, or social campaigns inspired by the story. Invite listeners to share their own love stories. Highlight favorite Country couples. Make it interactive.

    Take a look at this clever social media post from Big D & Bubba. This type of thing is easier than ever with tools like Canva.

    The key is transformation: turning a headline into participation. That’s when pop culture stops being background noise and becomes a tool for engagement, loyalty, and brand relevance.

    Think Beyond the Dial

    Listeners live online as much as they live by the radio. If a station only mentions a viral moment on-air, it misses a massive opportunity. Pop culture content can live across social media, newsletters, TikTok, and the station app.

    Imagine the Sydney Sweeney jeans story. A station could host a social media poll about country style, invite listeners to submit photos, or create a lighthearted fashion challenge. Suddenly, a viral controversy becomes a cultural conversation, and the station is at the center of it.

    Timing Is Everything

    Pop culture moves fast. Miss the moment, and the story fades. Act immediately, and your station appears informed, relevant, and in tune with its audience. Timing matters as much as creativity. The news cycles measure attention in hours; the early bird doesn’t just get the worm. It gets the engagement.

    Keep Your Identity Front and Center

    Engaging with pop culture doesn’t mean abandoning your core. Country radio’s strength is its authenticity and relatability. Any viral story should be filtered through that lens. A clever spin, a contest, a joke, or a thoughtful discussion can add value without undermining the station’s identity.

    Moments Are Invitations

    Every viral story, every celebrity headline is an invitation. An invitation for your station to be part of the conversation. To ignore it is to cede relevance to social media, podcasts, and other platforms. To seize it is to strengthen your connection with listeners, create interactive experiences, and show that your station is in the moment.

    Engagement doesn’t have to be complicated. It can be a short segment, a poll, a promotion, or a social post. What matters is that it’s intentional, on-brand, and adds value beyond the mere mention.

    While not Country, here is a very clever reel from Tony Lorino at B93.3 in Milwaukee. The station was recently sold and will be exiting the format. In the reel, the payoff is seeing Lorino wearing a 93 QFM cap from the station’s previous format with a quick reference to a logo change, fixing all your problems. Very well done.

    Relevance Builds Loyalty

    Why put in the effort? Because audiences reward relevance. Listeners stick with stations that understand their world and reflect it back with creativity. Pop culture moments are fleeting, but the engagement they generate can last far longer.

    By thoughtfully integrating trending stories into your programming and promotions, you position the station as more than a music source. You become a cultural companion, someone the audience trusts to entertain, inform, and include them in the conversation.

    Pop Culture Done Right

    Country radio doesn’t need to chase gossip or become a celebrity news outlet. Its power lies in storytelling, community, and relatability. But ignoring pop culture means missing opportunities to connect. By seizing moments and attaching creative, on-brand spin, stations turn fleeting headlines into interactive experiences, marketing campaigns, and cultural relevance.

    Pop culture isn’t the enemy. It’s an ally. If Country radio embraces it thoughtfully, it strengthens its bond with listeners, stays top of mind, and proves that even in a fast-moving media world, it’s still a place where audiences come to hear the stories that matter.

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

    Hits On The Horizon: Doja Cat, Old Dominion and Trey Songz

    Jim Ryan
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    Hits On The Horizon: Doja Cat, Old Dominion and Trey Songz

    Well, here we are at the unofficial end of summer, Labor Day Weekend. I used to think my parents and grandparents were crazy for saying, “Summers go by so quickly!”  But, they were 1000 percent correct, it moves so fast!

    Let us take a look at some songs you should be listening to over this 3-day weekend.

    Top 40/Hot AC

    I will start in the usual spot with Top40/Hot AC.

    Doja Cat / “Jealous Type” sounds like a sure-fire hit. Groove is cool, and the song has a good hook.

    I’ll bring up again one I mentioned a few weeks back, cause the streams are really solid at almost 5.4 million this week. Katseye / “Gnarly.” Yes, it may be a record you daypart at Top 40 to start, but there is something to it that sticks with you!

    The last one for this week to get your ears on, if they haven’t already, is a crossover from Country. Megan Moroney / “6 Months Later” is a smash with over 7 million streams this week, and early believers at Hot AC include Mix in Houston and Y98 in St. Louis.

    I will also say, Hot AC missed a good one this summer with a song that performed strongly at Alternative and AAA. Role Model / “Sally, When The Wine Runs Out” is a hit!

    Rock

    Let’s move into the ROCK world since I mentioned that Role Model song.

    This week I am loving The Temper Trap / “Lucky Dimes,” it has such a cool bass line, the hook is catchy and worth your ears listening to it!

    AAA

    From the AAA space, I’m really liking Jesse Welles / “Wheel.” I love the hook on this song;some early believers include WXPN in Philadelphia and 93 XRT in Chicago.

    Country

    Let’s move to the COUNTRY format for this week. Hudson Westbrook / “Sober” with the lyric, “that sundress was spinning me out of my mind, turning me on one kiss at a time.” This is a good, slow groove song worth listening to!

    Old Dominion / “Miss You Man” is a really good song and sounds like a radio hit to me, although you will need a clean version!

    Another fun one to get your ears on is Jake Worthington / “It Ain’t The Whiskey.”

    You should also be listening to Nikita Karmen / “Wildflowers On The Freeway.” I just love her voice, and it’s a catchy song.

    Rhythmic

    Moving into the RHYTHMIC world Trey Songz ft. feather,Nia/Ray / “Lit Again” is worth your ears.

    Also liking Ayra Starr / “Hot Body” which has a really good groove and is getting nice love from “Jammin” in Boston and The Heat on Sirius XM!

    One more this week from the Dance world is Myles Lloyd & Bunt / “Crazy” sounds like it could be a hit to me!

    So, enjoy your Labor Day Weekend, and I’ll have more for you next week when we will be in September! 

    Boy, it moves fast!

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

    Ratings Roundup: Fox News Still Tops Broadcast Networks During Six Week High

    Garrett Searight
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    Ratings Roundup: Fox News Still Tops Broadcast Networks During Six Week High

    The Lead

    Fox News continues to dominate the television this summer, as the network saw a six-week high in the primetime ratings, as it continues to best both cable and network counterparts.

    During the week of August 18th, Fox News averaged 2.415 million viewers in primetime. That’s the highest mark for the network since the week of July 7th, when it averaged 2.436 million viewers.

    Additionally, the week of the 18th marked a 3% viewership increase for Fox News compared to the prior week. In weekday primetime, Fox News averaged 2.9 million viewers for the week, besting network rivals ABC, CBS, FOX, and NBC in the process.

    Again, The Five was the top-rated show for Fox News during the week. It averaged 3.5 million viewers, and 359,000 viewers from the key Adults 25-54 demographic, topping both categories.

    In other week-over-week upticks, MSNBC saw a slight increase in its primetime viewership figures. The network’s average primetime audience was 804,000 total viewers, up from the 797,000 it saw in the prior week.

    Meanwhile, NewsNation saw a 13% increase in overall primetime viewership week-over-week during the most recent time period. That network’s audience grew from 90,000 to 102,000 overall.

    CNN and Newsmax each experienced losses week-over-week. CNN saw its primetime audience drop from 467,000 to 442,000, representing a 5% decrease. Newsmax dropped to its lowest rating of 2025 during the week of August 18th, finishing the week with an average of 166,000 total viewers in primetime. That figure represents a week-over-week decline of 21%.

    World News Tonight Stays Top-Rated Show for 15th Straight Week, While NBC Nightly News Tightens Race in Key Demo

    ABC’s World News Tonight has been virtually unchallenged as the top program in all of television this summer. That remained true during the week of August 18th, as the David Muir-led program featured an average audience of 6.9 million viewers for the week.

    That figure far outpaced rival NBC Nightly News, which ended the week with an average of 5.7 million viewers.

    However, the ratings battle is much tighter in the Adults 25-54 demographic. During the most recent week, the ABC News broadcast saw its lowest finish in that category of 2025, with 838,000 total viewers. NBC News averaged 792,000 in the same time period.

    That finish is slightly below average for NBC Nightly News, which has seen an average of 875,00 viewers during the nightly newscast throughout 2025. Since Tom Llamas took over the anchor duties from longtime host Lester Holt, the figure dips slightly to 800,000 viewers on average.

    The week of August 18th saw CBS Evening News finish with an average of 3.8 million viewers. That is a slight uptick compared to the previous week, up just over 0.5% overall. In the Adults 25-54 demographic, however, the broadcast saw its second-lowest finish of 2025, with an average audience of 478,000 viewers from that sector. Its previous low was the week of June 30th, when it finished the week with 466,000 viewers from the key demographic.

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

    ESPN Signs Desmond Howard To Multi-Year Extension

    BSM Staff
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    ESPN Signs Desmond Howard To Multi-Year Extension

    ESPN has signed college football analyst Desmond Howard to a new multi-year contract. He prepares to kick off his 21st season on College GameDay Built by The Home Depot. The Heisman Trophy winner and Super Bowl MVP has been a fixture on the 10-time Sports Emmy Award-winning pregame show since joining ESPN in 2005.

    Howard also contributes to ESPN’s exclusive College Football Playoff coverage and ABC’s NFL Draft programming. He also contributes to the Heisman Trophy Presentation, bringing his expertise and on-screen charisma to each broadcast.

    “I am thrilled to continue this journey with ESPN,” Howard said. “There’s nothing I’d rather be doing during the fall than showcasing the incredible sport that we all love alongside my College GameDay family.”

    Burke Magnus, President of Content at ESPN, praised Howard’s enduring impact on the network and the program. “Desmond has played a pivotal role in ESPN and College GameDay’s success for two decades, so we’re thrilled that the Heisman Trophy winner and one of college football’s all-time greats will continue to offer his analysis and perspective – and, of course, occasional friendly jabs – across our coverage,” Magnus said.

    Howard has become a cornerstone of the GameDay team. He appears alongside host Rece Davis and analysts Lee Corso, Kirk Herbstreit, Pat McAfee, and Nick Saban. The crew returns for the season opener this Saturday, broadcasting live from Ohio State on ESPN.

    The 1997 Super Bowl XXXI MVP and 2000 Pro Bowl selection joined ESPN after an 11-season NFL career. Drafted fourth overall by the Washington Redskins in 1992, Howard played for multiple teams including the Packers, Jaguars, Raiders, and Lions. His 99-yard kickoff return in Super Bowl XXXI made him the first and only special teams player to earn Super Bowl MVP honors as part of Green Bay.

    Howard’s collegiate career at Michigan (1988–91) was equally decorated. He was the first receiver in Big Ten history to lead the conference in scoring. Furthermore, he set or tied five NCAA records and 12 single-season Michigan records. In 1991, he won the Heisman Trophy by the second-largest margin in history, claiming 85 percent of the vote. He also earned the Walter Camp and Maxwell Awards.

    In recognition of his achievements, Michigan retired Howard’s No. 21 jersey in 2015. He has been inducted into the College Football Hall of Fame (2011), the National Football Foundation College Football Hall of Fame (2010), the University of Michigan Hall of Honor (2008), the State of Michigan Sports Hall of Fame (2007), the Gator Bowl Hall of Fame (2005), and the Cleveland Sports Hall of Fame (2005).

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

    iHeartRadio Music Festival Brings Back ‘House of Music’

    BMM Staff
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    iHeartRadio Music Festival Brings Back ‘House of Music’

    The iHeartRadio Music Festival is adding a major fan component this year with the return of its House of Music. The free activation will run September 19-20 outside Las Vegas’ T-Mobile Arena, offering festivalgoers a series of interactive rooms tied to artists performing at the two-night event.

    Attendees will be able to step into experiences inspired by Ed Sheeran, LL COOL J, Mariah Carey, Maroon 5, Tate McRae, and others. Installations include recreating LL COOL J’s BAD album artwork, exploring Maroon 5’s Songs About Jane era, and walking a runway built around one of McRae’s music videos.

    Singer-songwriter Julia Michaels will also take the stage inside the House on Saturday, debuting her new single “No Heartbreaks Killed Me Yet,” which is scheduled for release the same day.

    Fans can access the House of Music using a scannable “House Pass” to unlock digital activations, earn points, and qualify for prizes ranging from festival tickets to artist meet-and-greets.

    iHeartMedia executives Tom Poleman and John Sykes said in a joint statement, “The House of Music continues to evolve each year, and this year’s experience is our most immersive yet.”

    The 2025 iHeartRadio Music Festival will be hosted by Ryan Seacrest and broadcast live across more than 150 iHeartMedia stations nationwide. Hulu returns as the exclusive livestreaming partner.

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

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