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How Jared Stillman Forges Ahead Following Exit From 102.5 the Game

John Mamola
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How Jared Stillman Forges Ahead Following Exit From 102.5 the Game

It was the final day of July in Nashville, Tennessee. The city was continuing to count down to the beginning of another season of Tennessee Titans football. The top overall selection in the NFL Draft was just getting the pads on as training camp opened. The dawn of a new season arrived once again. But for Jared Stillman, his time at 102.5 The Game had reached its unfortunate sunset.

“I went into work on that Thursday not sure what was going to happen,” said Stillman.

The Nashville native had commanded afternoon drive for 102.5 The Game since he arrived at the station in 2015. He was originally paired with former Titans general manager Floyd Reese for what was called Jared and the GM. Following Reese’s untimely passing in 2021, Stillman had hosted solo in the day part for the next four years.

Last summer, Stillman approached station management about beginning to work on a new contract extension. His agreement with the station expired on December 15. While the two sides didn’t reach an agreement by the expiration of his contract, Stillman continued to work without a contract for seven months, hosting solo in afternoons on The Game.

“It was difficult for us to find common ground, given the unprecedented success that the station and in particular my show had over the last couple of years,” Stillman noted about the negotiations. “I did feel as if in the end it probably would have been hard one way or another for us to come to common ground where both sides would have been happy and comfortable with the arrangement.”

Stillman Continued To Work For A Deal

Stillman felt that his value to the station was higher than it had been in previous agreements. His program once had finished No. 1 in men 25-54 during his tenure and had seen gains against head-to-head competition for some time.

He noted that he took “several” below-market deals in the past. However, with a decade of experience as the flag bearer for the radio station in afternoons and a child on the way. Stillman believed it was better to have no deal than a bad deal.

“We kept talking and we kept meeting. The talks always ended up with a ‘let’s have another talk, let’s have another meeting,’” said Stillman. “To say that I was frustrated with that process probably would be a complete and total understatement.”

He noted that as the discussions continued, the progress made toward a resolution was headed backward. This led to Stillman growing concerned with the financial state of the radio station, or Nashville radio in general.

“I felt like last year, the tenor of the discussions was a lot different than recently in terms of what they would or would not be able to do,” explained Stillman. “There wasn’t really a lot of progress being made at all. That was getting a little frustrating, and I wonder if it was getting frustrating for them too.”

Leaving With No Regrets

Stillman grew up in Nashville listening to sports talk. He never dreamed of hosting sports radio but always envisioned himself working in sports. His journey began working as a manager at Louisville for the women’s basketball team, but then an opportunity arose to host a show at the local ESPN affiliate in Louisville.

Growing up a fan of Mike & The Mad Dog on the YES Network, Stillman found his calling. He says he’s grateful as an artist. To have had the opportunity to host in his hometown and make his eighth-grade self proud.

“Going through it, there were so many moments that were rather surreal that I made sure I never lost track of. There must be a level of objectivity for a good radio host, but I think that we’re all into this because we’re fans,” said Stillman. “It was an incredible experience, and it’s one that I was so incredibly grateful for.”

Stillman noted that when he arrived at 102.5 The Game in 2015, the culture of the radio station was poor. He recalled the negativity in the building upon his arrival. Several former employees of the station’s crosstown rival were not having the same amount of success at the time. With low ratings and chasing competition, Stillman earned a sense of pride in being part of the team that turned the culture and success story of the station around over the past decade.

As Stillman’s time reached its conclusion at 102.5 The Game, he was surprised at how relieved he felt to have a resolution to the contract matter. Reflecting on the discussions, Stillman said he has no regrets.

“Are there little things that I could have done in the negotiating process that could have changed the outcome? Maybe, but probably not,” said Stillman. “I felt as if I had reached a certain point where it was time now, at 35 years old with a child, to make the best decision for me as opposed to necessarily making the best decision to fit that time slot.”

Stillman Remained Focused on Entertaining

While hosting afternoons in Nashville, Stillman has also been a rotating voice on SiriusXM’s Mad Dog Radio channel. Utilizing his skill set acquired through his local offerings, Stillman began working part time for the satellite radio network in 2022. Making his debut following Super Bowl LVI in 2022, Stillman has enjoyed the luxury of having a worldwide audience for his opinions to be heard.

“I love being at Mad Dog Radio with SiriusXM. I think SiriusXM is an incredible product,” explained Stillman.

Following the events at 102.5 The Game, one of the first calls Stillman made was to SiriusXM to let them know he would have more opportunity to work. Since then, he has been filling the airwaves on SiriusXM for the last couple of weeks as the NFL season nears.

“I called them after we were unable to reach a resolution. I told them what had happened. I did not call them and ask for a job or ask for more shifts,” said Stillman. “I wanted them to know from me that there was no animosity or event that led to the separation between the station and me.”

Stillman understands his role with Mad Dog Radio and respects the brand. He said he would be very open to something long term with SiriusXM if offered.

“It’s a great channel, and I absolutely love being a part of it,” noted Stillman.

The Next Steps for Stillman

As for his immediate future, Stillman didn’t reveal many details about exactly what his next steps would be. He says he weighed the decision to go public about his contract negotiations while at 102.5 The Game but chose not to do so.

“I try to be as transparent as possible, but business is business,” said Stillman. “I didn’t feel like I owed it to anybody, and I didn’t think that it would help the situation to be public about it.”

Stillman says his focus for the next steps is keeping the core audience that carried his program in afternoons at 102.5 The Game. He plans to provide a product that will keep the Jared Stillman listener tuned in. Entertaining as ever in afternoon drive in the very near future.

“Hang in there with me for a little bit,” said Stillman. “I am almost positive that I will be on some form of media for you to listen to in the car. I will be on some form in the afternoons for your commute home in the near future.”

While the past year has been a test for Stillman, he’s excited about his immediate future. He believes in the power of radio and the connection it provides his audience — a connection he’s not planning to lose anytime soon.

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: Max McNown, Goo Goo Dolls And Goose

Jim Ryan
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Hits On The Horizon: Max McNown, Goo Goo Dolls And Goose

Hard to believe we are just a week away from Labor Day, but before you indulge in all things pumpkin spice, let’s take a look at some music that your ears should be consuming.

Hot AC/Top 40

Starting as usual in the Top 40/Hot AC space is one that sounds like a no-brainer crossover track from Country, get your ears on Max McNown/ “Better Me For You.” Mix in Houston is a believer so far in the Hot AC space.

Because the Pop formats can always use a good rock song, your ears should also be on Goo Goo Dolls / “Not Goodbye (Close My Eyes).”

I have a couple more for this week, Renee Rapp / “Shy” is over a million streams this week with zero radio airplay. It also has a nice groove and strong hook. Love the lyric, “It’s hard to make me nervous, much easier to piss me off!”

I’m also liking from the K-Pop space Le Sserafim / “Different,” a catchy song that your ears should be on!

Rock

Let’s move on to the ROCK space for this week. If your station is in the Active Rock space, you should be listening to Mammoth / “The Spell.” It is a really cool, hard-driving song with a good hook.

Alternative

From the Alternative world, Of Monsters & Men / “Ordinary Creature” should certainly be on your radar with 94.7 NRK in Portland jumping in with all day-parts support.

One more this week from the AAA space, a very strong catchy song from Goose / “Madelena.” It’s getting good early support from notable stations in the format WFUV/New York, WXPN/Philadelphia, and WTTS in Indianapolis.

Country

Switching gears to the COUNTRY space this week.

Jordan Davis w/Marcus King / “Louisiana Stick” solid streaming numbers for the week, about 1.2 million.  The song has a good hook and sounds like a hit!

Another one that you should have in your ears is Parker McCollum / “Solid Country Gold.” A song with the lyric “Give me a Z-28 with an 8-track tape” is not a bad one to listen to!

Zach Top / “Use Me” gathered 1.6 million streams for the week and is getting some huge love from 93 Q Country in Houston.  You should get your ears on this if you have not already!

Rhythm

Let’s move into the RHYTHM space for this week.

First up is one that could also work for Top 40  Maroon 5 w/ Lil Wayne / “Love Is Like” has a really cool vibe.

Cardi B / “Imaginary Playerz”- even with having to play the clean version, it’s still worth your ears, with some fun rhymes in the lyrics, such as “Winter is minks out, I buy grown men gold watches and make them take links out!”

So, there you go, plenty of ear candy for your weekend enjoyment.

Enjoy!

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 Morning Show Benchmarks Drive Country Radio Loyalty

Jeff Lynn
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Why Morning Show Benchmarks Drive Country Radio Loyalty

Mornings are the anchor of great Country radio stations.  The daypart delivers the highest cume, sets the tone for the brand, and often makes or breaks the station’s image in the market. Music alone won’t get you there. The differentiator is content. And consistent, repeatable benchmarks are essential to building listening habits.

Without them, your morning show is just another mix of songs, chatter, and liners. With them, it’s a product that listeners structure their day around.

Habit Is the Win

Listeners don’t often just stumble onto and stay with radio stations. They arrive because of habit. Benchmarks create that habit by being predictable, appointment-worthy features that cut through morning chaos.

When a listener knows that their favorite bit is always at 7:10 or “The Drive At Five” always kicks off the weekend, you’ve trained them to choose you over a podcast or playlist. That’s not a coincidence. That’s programming discipline.

The stronger the benchmark, the stronger the habit. And the longer the time spent listening.

Stand Out or Blend In

Your Country competitor has the same core library of Luke Bryan, Morgan Wallen, and Lainey Wilson. If you’re relying solely on music rotation, you’re blending in.

Benchmarks are where you stand out. They’re your brand fingerprints. When done right, they’re what a listener tells a friend about at work: “Did you hear what they did this morning?” They’re what drives watercooler talk, not the third spin of last week’s add.

Anticipation Is Your Best Friend

The best benchmarks don’t just entertain, they create anticipation. Listeners know what’s coming, when it’s coming, and why it’s worth sticking around. That anticipation is gold in PPM and diary markets alike.

The trick is consistency. A benchmark isn’t a “maybe we’ll do it” feature. It has to fire without fail, every day or every week. If the audience can’t count on it, it loses power.

Build Features That Reflect Your Brand

Not every benchmark works for every show. A successful feature has to align with your station’s brand values. If your station leans into family and community, a daily “Good News” segment reinforces that identity. If you’re positioned as cutting-edge and fun, a sharp game or pop culture-driven feature might fit better.

Benchmarks aren’t just filler. They’re brand statements. Be intentional about what your features say about who you are.

Fresh Within Familiar

The danger of benchmarks is predictability turning into boredom. That’s where execution matters. Keep the structure consistent, but keep the content fresh.

The benchmark is the frame. What you put inside the frame has to be updated, topical, and relevant. Listeners want the comfort of routine without the sense of hearing yesterday’s show on repeat.

Ratings and Revenue Impact

Benchmarks move numbers. In PPM markets, they’re sticky tune-in points that keep listeners around longer. In diary markets, they’re what gets written down when respondents remember your show.

On the revenue side, they’re sponsor-friendly. A well-branded benchmark is a natural package for sales to take to advertisers. A feature that has audience equity. Runs at a consistent time, and listeners expect it. That is exactly what clients want to hear. That’s money tied directly to programming discipline.

Take It Beyond the Air

Benchmarks can’t live only on the air. If your morning show has a strong daily feature, promote it on socials, podcast the segment, and tease it in streams. A trivia benchmark can live on Instagram Stories. A funny caller can be clipped for TikTok.

The benchmark should always originate on-air. That’s the core product. But smart programmers know the value in extending it to platforms where listeners live after the morning commute.

Why It Works So Well in Country

Country listeners lean into tradition, routine, and shared experiences. Benchmarks tap directly into that cultural mindset. They become traditions of their own: little daily or weekly moments that create a sense of belonging.

Country fans don’t just consume; they participate. And when you give them a consistent touchpoint, they show up.

The Bottom Line for Programmers

If your morning show doesn’t have benchmarks that are predictable, memorable, and brand-aligned, you’re leaving ratings and revenue on the table.

Strong benchmarks:

  • Build daily listening habits.
  • Differentiate your show from competitors.
  • Create anticipation that drives time spent listening.
  • Deliver sponsor-ready content that boosts revenue.
  • Reinforce the brand values you want associated with your station.

Consistency is your competitive edge. Listeners won’t remember every song you played. They’ll remember the benchmark they look forward to every day.

Programmers who understand this don’t treat benchmarks as optional. They treat them as essential.

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.

Justin Johnson Drives 98 Rock’s Swagger and Service

Charese Fruge
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Justin Johnson Drives 98 Rock’s Swagger and Service

Justin Johnson was named the new Program Director for 98 Rock in Baltimore just a few days ago. He knows it was meant to be. Since middle school, he’s been captivated by the medium. Idolizing DJs as celebrities and staying up late to catch the eccentric and mysterious world of Coast to Coast. That early fascination led him to Specs Howard School of Broadcast Arts near Detroit after graduating high school in Fowlerville, Michigan, in 1999.

From Michigan to Major Markets

His career began at WWDX in Lansing, Michigan. It quickly expanded across major markets and formats, with programming and on-air roles at WJFK in Washington, D.C., WTKS in Orlando, WWBA in Tampa, WKLS in Atlanta, and WEBN in Cincinnati. The combination of experience in Rock, Talk, and Sports radio prepared him well for his current role as Program Director at Baltimore’s 98 Rock (WIYY).

“Programming 98 Rock feels like the perfect fit for my background,” Johnson says. “We deliver rock music, engaging personality-driven shows, and serve as the home for the Ravens and Orioles, all with a bold rock swagger.”

Taking a Step Back to Move Forward

In 2023, following a layoff from iHeart, where he served as Program Director and Brand Coordinator for WEBN, Johnson saw an opportunity at 98 Rock. Although the open position was for Assistant Program Director, a step down from his previous role, he knew the value of the station and the company behind it. He applied, was hired, and less than two years later, his instincts proved correct as he was elevated to Program Director.

“This role feels like a throwback to a golden era of radio,” Johnson explains. “I work with some of the most talented broadcasters and support staff in the industry, so my focus is simple: how can I position them for success? My job is to blend the entertainment aspect with the business side, ensuring our listeners get the best of both worlds. This entire experience is nothing short of a privilege.”

Serving Baltimore Beyond the Airwaves

98 Rock has long been an integral part of Baltimore’s community, and Johnson intends to ensure that commitment remains strong. One of the station’s biggest initiatives is its partnership with Maryland Special Olympics and the annual Polar Bear Plunge. Not only does the team raise money for the event, but they also produce a live comedy show to benefit the cause.

“These events highlight what we do best,” Johnson says. “We bring people together, raise money for important causes, and deliver an experience that’s uniquely 98 Rock.”

Personal Passions and Future Goals

While the station is his main passion project for now, Johnson also has his eye on future personal endeavors. “I love the ASPCA and used to dedicate weekends volunteering with them. Once I get fully settled in this role, that’s something I absolutely plan on returning to.”

Johnson says he considers every day he continues in this business to be an accomplishment, but his greatest pride comes from what the 98 Rock team has achieved together over the last two years. “We’ve set station ratings records by sticking to the premise that our talent is what makes this station great,” he notes.

Following a Radio Giant

At the same time, he’s realistic about the challenges ahead. Taking over from longtime PD Rick Strauss is no small task. “Rick set the bar extremely high, and filling those shoes will be as difficult as anything I’ve done in my career. I’ll attempt to accomplish it with hard work—nothing less.”

When it comes to attracting younger listeners, Johnson is confident but clear-eyed. “It’s not as daunting as it seems. The key is to hire top talent and create relevant, entertaining content. Then, we meet listeners where they are. If we entertain, they’ll stay; if we don’t, they’ll leave.”

Bringing Back Radio’s Soul

For him, the industry’s greatest weakness right now is a lack of courage. “Radio is missing guts and soul. We need to stop playing it safe and start taking bold risks to make people talk about us again. Fear is toxic in this industry, but fearless authenticity is how we win back excitement and our audience.”

What He Values in Talent

As a programmer, Johnson values talent who are self-aware and authentic. “I look for people who don’t take themselves too seriously. Confidence is important, but ego is toxic. The best talent is genuinely funny, engaging, and unafraid to embrace their flaws.”

For young broadcasters who dream of both programming and being on the air, his advice is simple but powerful: “Don’t be afraid to fail. Not all of your ideas will be good, but they’re all worth exploring.”

Follow Justin Johnson on Instagram: @dubsradio

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

Is the WWE Testing the Value of Their Own Fan Loyalty?

John Mamola
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Is the WWE Testing the Value of Their Own Fan Loyalty?

It was an off-mic moment, but one that grabbed the attention of the WWE Universe when it happened. On November 27, 2023, in Nashville, CM Punk returned to the microphone and closed out his first promo back in over a decade with, “I’m not here to make friends, I’m here to make money.”

Nearly two years to the day, what seemed like a play into storyline is now the mission statement for WWE. Then again, it always has been about doing “business.” Since that day, WWE has changed. Business-wise, the bottom line couldn’t be better. Fans continue to flock to arenas and stadiums wherever WWE arrives.

While an arena show may roll through your town from time to time, the at-home experience is what keeps WWE fans locked in every week—an experience that has become more expensive since that night in Nashville.

I will always credit a business that knows its customer. The biggest key to success is understanding what your customer demands from your product and adjusting to that need.

Personally, I’ve fallen in and out of love with WWE over my forty years following it. My father would take me and my brother to the Rosemont Horizon (yes, I will always call it that) in Chicago to see the greats—Hulk Hogan, the British Bulldog, and the tag team known as The Road Warriors.

I grew up a child of the ’90s and the Monday Night Wars. The Attitude Era was a rallying cry for my friend group as I was always DX while they supported The Rock or “Stone Cold” Steve Austin. Becoming a father, finding a career, and moving cross-country, I lost that passion for WWE. However, since COVID, I’ve found myself rejoining the WWE Universe as it provided entertainment during a time of little to none.

The Era of Streaming Is Here

The one element I always valued about WWE was the trust and ease of access to the product. I knew that Monday Night Raw was on USA Network or TNN. I knew that Friday Night SmackDown was on UPN or USA Network. I knew that if I wanted to watch a pay-per-view event, it was easily accessible for $69.99. Cause everybody’s got a price!

Times have changed. The pay-per-view model is gone. WWE launched its own network more than a decade ago losing the PPV model. But the changes since that night in Nashville leave me disturbed and checking my account balance more often.

WWE has always had a very loyal fan base. There is a sense of community in connecting with fellow fans and cheering on their favorite superstars. That community has supported WWE through a pandemic, numerous steroid cases, tragic deaths, and current lawsuits alleging serious sexual abuse claims. No matter the issue, the WWE train rolls on.

How much of that loyalty by the WWE Universe is being taken for granted?

It’s harder and more expensive to watch WWE today. It’s more expensive to attend WWE events. It’s more expensive to afford WWE merchandise than ever before.

Over the last two years, the WWE has put a price tag on its own universe’s loyalty. They’ve been cashing in ever since.

Remember when I said the ease of access was something I always valued?

Here To Make Money

On New Year’s Day in 2024, the only WWE product that wasn’t shown on a streaming service was its premium live events. Paying just $7.99 to Peacock per month got you access to all the shows you used to shell out for on pay-per-view. Everything else was on cable.

Simple. Trusted. Appreciated.

Today, if you want to watch Monday Night Raw, you must have Netflix. That’s $17.99 per month, for the same commercial-filled wrestling program that hasn’t leaned into the idea it’s now on Netflix. They could lean a little more into what made “The Attitude Era” great with some “color” and language. Just saying.

Want to watch the reincarnation of Saturday Night’s Main Event? That is now a Peacock exclusive, and the cost is up to $10.99 per month. On top of that, WWE is accelerating its premium live events being shown on ESPN’s new direct-to-consumer product beginning next month.

That’s an extra $29.99 per month—unless you’re already an ESPN subscriber.

Then Friday Night SmackDown and NXT remain outliers if you still prefer to buy cable or satellite.

In order to access all the WWE products, including premium live events today, it will cost you roughly $60.00 per month plus your cable bill—when it used to cost under $10.00 per month.

Harder. More confusing. More expensive. Testing the loyalty of the WWE Universe.

Worth Every Dollar?

That’s just the at-home product. Have you looked at the ticket costs for attending a WWE event lately? The dynamic pricing model that TKO President Mark Shapiro highlighted in March is creating a divide of the haves and have-nots.

USA Today reported in April that the cheapest ticket to WrestleMania 41, if you went both nights, was $700.00—or $900.00 with fees. While that’s nowhere near the cheapest ticket to the Super Bowl this past February at $3,000.00, it’s still a heavy load to afford.

Two years ago, the cheapest two-night ticket to WrestleMania 39 in 2023 was $227.00, according to Sporting News.

Harder. More expensive. Testing the loyalty of the WWE Universe.

Has WWE outpriced itself from its own fan base? The results don’t show it.

Arenas remain full every week. Premium live events continue to sell well. The WWE Universe fueled a massive rise in Netflix subscriptions once Monday Night Raw moved over. Advertising—in-ring, outside the ring, between matches—seems to be selling well and doesn’t feel intrusive to the viewer, yet.

But if this model becomes “affordable,” what does that mean for the fans in the future?

I believe WWE is a fan-first entertainment company. It is one of the most followed and beloved entertainment brands in the world, blending pop culture with storyline.

However, the last two years have proved its brand of entertainment may be priceless. Fans blinded by the superstars they support and the quality of the product they see, while how much it affects their bottom line seems forgettable.

My question is: how long does that last?

Could it truly be then, now, and possibly forever?

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: Newsmax Scores Highest Jump As Donald Trump/Vladimir Putin Summit Provides Boost

Garrett Searight
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Ratings Roundup: Newsmax Scores Highest Jump As Donald Trump/Vladimir Putin Summit Provides Boost

The Lead

The newscycle in recent weeks has been largely void of major, needle-moving stories. That changed last week, as President Donald Trump met with Russian President Vladimir Putin in Alaska. Newsmax was the biggest beneficiary of that news.

Newsmax saw a nearly 4% week-over-week increase in the primetime ratings for the week of August 11th. In total, the network averaged 209,000 total viewers in the window.

CNN was not far behind in growth, as that network saw a 3.7% increase in overall primetime viewership for the week, up to 467,000.

Fox News — which led the primetime ratings for the week — also saw an increase in viewership. That network saw an average primetime audience of 2.3 million viewers, an increase of just over 2% from the previous week. Additionally, Fox News led all of television — both broadcast and cable — in average primetime audience during the week. Both Special Report with Bret Baier and Hannity delivered more than 3 million viewers on Friday, as each program featured exclusive interviews with President Donald Trump.

While Newsmax, CNN, and Fox News featured primetime upticks, MSNBC and NewsNation each saw slight dips in their primetime audiences.

MSNBC dropped to 797,000 total viewers in the daypart, a week-over-week decrease of 3%. Meanwhile, NewsNation saw a nearly 11% drop during the week, finishing with an average audience of 90,000 viewers in primetime. The network did, however, see a 30% increase in the Adults 25-54 demographic, jumping from 10,000 viewers to 13,000 for the week.

Fox News saw a large key demo bump during the week of August 11th. The network finished with 245,000 viewers from the sector, a week-over-week increase of just under13%.

Similarly, Newsmax saw a 12.5% increase in the coveted demographic, jumping from 16,000 to 18,000 viewers in primetime.

CNN was up 7.7% in the key demo to 84,000 total viewers, besting MSNBC, which rose slightly to 74,000.

The year-over-year figures weren’t as positive for the cable news world as a whole. Only Fox News, which saw an increase of 3%, saw growth in the overall primetime viewership metrics. MSNBC saw the biggest drop off of primetime viewers compared to the same week in 2024, seeing a 44% decline. CNN also saw a large decrease, dropping 41% in total primetime viewers.

The losses were less steep at Newsmax (-21%) and NewsNation (-13%).

For the week of August 11th, Fox News featured 13 of the top 15 most-watched programs of the week in cable news, and each of the top six programs. The Five retained the top spot of the week. Meanwhile, the only non-Fox programs to crack the top 15 were The Rachel Maddow Show, which finished seventh with 1.9 million viewers, and The Last Word with Lawrence O’Donnell, which was 15th with 1.2 million viewers.

NBC Nightly News Sees Largest Audience in 7 Weeks, But Still Trails World News Tonight

The meeting between Donald Trump and Vladimir Putin didn’t only cause a bump in cable news ratings. It also led to an increase in viewership in the nightly broadcast newscast sphere, as all three programs saw an uptick.

After hitting a new low in 2025 during the week of August 4th, World News Tonight bounced back over the 7 million viewers plateau during the week of August 11th. That figure represents a 2% increase week-over-week in total viewership.

It remained on top of NBC Nightly News, which saw its largest audience since the week of June 23rd, with 5.7 million viewers tuning into the Tom Llamas-led program. That’s a 7% increase over the prior week.

Meanwhile, CBS Evening News saw the smallest growth of the week, tallying just 12,000 more viewers than the prior. It finished with an average audience of 3.8 million, marking the ninth straight week the nightly newscast failed to surpass an average of 4 million viewers.

In the Adults 25-54 demographic, World News Tonight with David Muir stayed on top, averaging 931,000 total viewers. NBC Nightly News with Tom Llamas was second with 776,000 viewers, while CBS Evening News was third with an average audience of 519,000 from the sector.

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.

What’s Next for the Podcast Industry After the Pivot to Video?

Garrett Searight
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What’s Next for the Podcast Industry After the Pivot to Video?

The podcast industry has spent the last several years evolving at a pace few would have predicted when the medium was just beginning to gain mainstream traction.

It’s not just about audio anymore. The pivot to video-first strategies has become the dominant storyline, with platforms like YouTube emerging as the de facto listening hub for more and more shows. But with so many creators adopting this model, it begs the obvious question: where do we go from here?

Sounds Profitable partner Tom Webster put it perfectly: “Our industry moves at lightning speed, with every 2 years since 2014 feeling almost unrecognizable from the one before it.”

That’s not hyperbole. Think about how the landscape has changed since the start of the pandemic alone. Independent creators became household names. Legacy media companies launched a dizzying number of new shows. And the rush to video has made podcasts look more like talk shows than anything resembling the iPod-native audio files that started this entire medium.

If the last decade has been about podcasts gaining legitimacy, the last two years have been about chasing eyeballs, not just ears. Creators, networks, and advertisers all seem to agree that if you aren’t producing a video podcast, you’re limiting your reach. That line of thinking isn’t wrong—YouTube is a juggernaut—but it also creates the next great challenge. When everyone is doing video, what makes a podcast different from every other video-driven piece of content on the internet?

The podcast industry can’t stay stagnant, because stagnation means irrelevance in an entertainment space where consumer habits evolve daily. A shift to video-first won’t be enough to sustain the growth creators and advertisers want if the product itself doesn’t innovate. Video is the trend now, but trends don’t stay trends forever. Something else will define the medium in 2026 just as video defines it in 2024.

What might that be? Will we see AI-powered personalization deliver curated podcast experiences on demand, essentially creating unique shows for each listener? Could interactivity become the next frontier, where listeners don’t just consume but actively participate in episodes? Or does the future lie in an even greater blending of mediums, where podcasts aren’t just video shows but full-scale multimedia projects with live events, companion newsletters, and social media extensions baked into every launch?

One risk is that by chasing video, the industry loses sight of what made podcasts compelling in the first place: intimacy. Audio is a lean-in experience. You’re in someone’s ears during a commute, a workout, or a quiet moment at home. Video expands the audience, but it also changes the dynamic. A podcast that functions more like daytime television might be appealing to advertisers, but will it satisfy the hardcore listeners who made this industry thrive in the first place?

Webster’s observation reminds us that nothing stays the same for long. The podcast industry has reinvented itself several times already, from a niche hobby to a serious ad-supported business, to a video-driven platform with global influence. The next reinvention is coming, whether we’re ready or not. That’s the part that should both excite and terrify creators and executives.

The next two years will almost certainly bring another seismic change. It could be technological, it could be cultural, and it could come from outside the podcast industry entirely. The only thing that seems certain is that when we look back at 2024 from the vantage point of 2026, this current moment will feel every bit as dated as the pre-video era does now.

That’s why it’s not enough to just follow the current trend. The smart podcasters, networks, and advertisers are already asking the harder questions. What happens after video? What happens when YouTube isn’t the growth engine everyone assumes it will always be? And most importantly, what will keep audiences coming back once the novelty of watching podcasts fades?

Tom Webster is right: our industry moves at lightning speed. If that’s true, then we’re already living in the final days of the video-first era. The real leaders in this space are the ones imagining what will replace it before the rest of us realize it needs replacing.

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.

NBCUniversal Close To Three-Year Deal With MLB for Reportedly Near $600 Million

BSM Staff
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NBCUniversal Close To Three-Year Deal With MLB for Reportedly Near $600 Million

NBCUniversal and Netflix are both in advanced negotiations with Major League Baseball on new broadcast rights deals that would mark significant shifts in how fans consume the sport, according to a report in the Wall Street Journal.

The report states NBCUniversal is closing in on a three-year pact valued at nearly $200 million annually to air games on both its broadcast network and the Peacock streaming platform. Netflix, meanwhile, is working on an agreement worth more than $35 million annually to stream the league’s annual Home Run Derby through 2028.

While the agreements have not yet been finalized, insiders suggest additional components could push the overall price tag much higher. Executives involved in the discussions believe the new arrangements will ultimately increase the league’s media revenue compared to its previous package with ESPN.

If completed, the NBCUniversal deal would bring baseball back to NBC on Sunday nights during the summer, a slot where the network does not already carry NFL or NBA games. Peacock would also expand its slate of live sports with additional MLB broadcasts, supplementing its portfolio of Premier League soccer, Big Ten football, and Olympics coverage.

NBCU would also secure rights to portions of the postseason, giving its platforms premium October content. These described assets are the ones that ESPN currently holds, but will lose once the network and MLB mutually opted out of their current agreement at the end of this season.

Netflix’s interest in the Home Run Derby underscores the company’s aggressive push into live sports and event programming. The streaming giant, which has previously experimented with live comedy specials and the “Netflix Cup” golf event, would gain a marquee summer property that pairs well with its growing sports documentary lineup.

Both these deals are being discussed while ESPN remains part of the ongoing negotiations. The network, which has a long history with MLB, is reportedly pursuing a deal that could integrate the league’s direct-to-consumer MLB.TV product into its forthcoming standalone streaming service. That agreement could also feature a mix of local-market and national games, giving ESPN more flexibility as it builds its digital future.

ESPN’s existing deal with MLB is set to conclude after the 2025 season. The network had been paying roughly $550 million annually for rights to 30 regular season games, the Home Run Derby, and the Wild Card round. However, it sought to cut costs in its renewal, leading to public friction with MLB Commissioner Rob Manfred, who criticized the network for what he described as “minimal coverage” of the sport outside of live games.

The developments come amid a larger industry trend where live sports have become among the most sought-after assets for media companies. Rights packages provide immediate value to cable and broadcast networks looking to stabilize audiences, while also serving as critical subscriber drivers for streaming platforms.

MLB, NBCUniversal, ESPN, and Netflix have not commented on the report.

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.

790 KABC Becomes New Radio Flagship For UCLA Sports Network

BSM Staff
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790 KABC Becomes New Radio Flagship For UCLA Sports Network

Cumulus Media’s Talk Radio 790 KABC has announced a multi-year agreement with the UCLA Bruins that makes it the new official broadcast home for UCLA football and men’s basketball beginning in Fall 2025. Under the terms of the partnership, 790 KABC will now serve as the flagship station of the UCLA Bruins Audio Network. Game broadcasts will also be carried nationally on SiriusXM and streamed on the KABC app.

Cumulus executives believe UCLA’s tradition and national recognition fit seamlessly with the station’s identity. Luis Segura, Program Director at 790 KABC, said the combination creates a powerful opportunity to connect with fans.

“With KABC’s powerhouse signal and UCLA’s legacy teams, Southern Californians will get some of the best in sports programming starting Fall 2025,” Segura said. “We are tremendously excited to partner with UCLA as the new official broadcast home of Bruins football and men’s basketball and look forward to turning up the volume on Bruins coverage for our passionate 790 KABC listeners and Southern California sports fans.”

In addition to football and men’s basketball, the station’s coverage will extend to other programs. 790 KABC will air four women’s basketball games during the winter months and provide 28 weekly installments of the Bruin Insider Show. The program airs Thursdays at 7 p.m. and features exclusive interviews, analysis, and updates across UCLA athletics.

For the station, the deal represents both a nod to its history and a signal of its ambitions. KABC, which first launched as Los Angeles’ original talk radio station, reaches listeners across Southern California with a 6,600-watt signal. Over the years, the outlet has established itself as a source of breaking news, commentary, and play-by-play while collecting multiple Golden Mike Awards for reporting excellence.

The agreement also positions KABC within a competitive Los Angeles sports media landscape. The station is known for featuring both local and nationally recognized hosts and commentators, and adding the Bruins to its programming gives the brand additional live play-by-play at a time when premium sports rights are increasingly valuable.

The UCLA Bruins kick off the Fall 2025 gridiron action on Saturday, Aug. 30, against the University of Utah at the Rose Bowl in Pasadena, CA, at 8:00pm PT

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.

KNSS Morning Hosts Steve McIntosh and Ted Woodward to Hit 7,000th Show Milestone

BNM Staff
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KNSS Morning Hosts Steve McIntosh and Ted Woodward to Hit 7,000th Show Milestone

KNSS morning show hosts Steve McIntosh and Ted Woodward have reason to celebrate. The duo will hit their 7,000th show together later this month.

On Tuesday, August 26th, the Audacy Wichita duo will host their 7,000th show together, marking a run that dates back to 1998.

“It’s been a professional and personal pleasure to work with Ted for nearly 28 years,” McIntosh said. “Thank you to all our loyal listeners and advertisers.”

The two KNSS news/talk hosts won’t have many more shows together to grow that number. Steve McIntosh is set to retire at the end of the year, concluding a nearly six-decade run in radio.

“The road to our 7,000th show has been a long journey for me, nearly half my lifetime,” said Woodward. “What a cherished gift, as listeners have invited us into their homes, cars, phones, computers, devices, and AI microchip implants (maybe?) for 27+ years. It’s been our honor, and we’re truly blessed!”

Since being partnered 27 years ago, Steve McIntosh and Ted Woodward have combined to win a regional Edward R. Murrow Award and an NAB Marconi Radio Award.

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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