The end has arrived for the long-running Against All Odds with Cousin Sal podcast with Spotify. Sal Iacono made the announcement in the opening moments of the podcast’s latest episode published Wednesday evening.
“Well guys, as you know, today is a special episode because it’s our last one,” Iacono said. “This is our final episode together. The Ringer and Spotify have shuffled the deck and our podcast was not renewed.”
Iacono has been recording episodes of the podcast since its debut in 2017.
The news of the podcast’s cancellation comes just over a month following cuts made at Spotify representing a 5% reduction in headcount across The Ringer and Spotify Studios. According to Variety, the roles that were eliminated will be reallocated to support Spotify’s video podcast push according to a source familiar with the company.
“When I broke the news to the fellas a few weeks back, Harry was upset, angry, Darren was over the top grateful, and Brian laughed. What a sick sense of humor,” said Iacono of his co-hosts.
Iacono said he will remain involved at The Ringer, continuing his “Guess the Lines” segments alongside Simmons on The Bill Simmons Podcast during the NFL season. He will also stay on as a panelist for The Ringer’s Sunday pregame show.
He also hinted that there will an announcement next week with more details. The Ringer has made a noticeable pivot toward video podcasting in recent months, an area where Against All Odds did not have a significant presence.
Simmons has not commented on the podcast’s cancelation.
Spotify’s latest layoffs do not match the cutbacks the company made in 2023 when it laid off about 200 staffers. Starting in late 2023 and into early 2024, the company overall let go about 1,500 workers, representing 17% of its worldwide employee base.
With Spotify’s purchase of The Ringer, founded by former ESPN exec Bill Simmons, for about $250 million in cash in 2020, the company was bulking up its podcast content and technology capabilities, and the company also entered into exclusive deals with several top podcasters following.
iHeartMedia and the University of Washington have announced an extension of their partnership for 93.3 KJR to remain as the radio flagship home of the Washington Huskies.
The station will continue to serve as the home of the school’s football, men’s basketball, and women’s basketball radio broadcasts, expanding on a partnership that has existed for more than 30 years.
“For over 30 years, KJR has put the fan at the center of everything we do and for 27 of those years, the Husky Honks have proudly served Husky Nation,” said iHeartMedia Washington Area President Mark Glynn. “As we step into an exciting new chapter with the University of Washington, our commitment to engaging fans and elevating Husky Athletics is stronger than ever. I’m proud that our support for UW not only continues, but grows—bigger, louder, and more connected than ever, with audio at the heart of it all.”
The new contract includes a daily update on women’s athletics at Washington that will be heard on 950 KJR, a new, year-round program called The Husky Nation that will be heard on 93.3 KJR, and a weekly vignette titled Purple Friday Minute, that will be heard on all nine iHeartMedia stations in the Seattle-Tacoma market each week.
“We’re excited to extend our partnership with iHeartMedia Seattle and KJR, keeping Washington Athletics front and center for Husky fans,” said University of Washington Director of Athletics Pat Chun. “This expanded relationship creates new appearance and endorsement opportunities for our student-athletes and deepens fan engagement across every broadcast.”
“We are proud to extend our partnership with iHeartMedia and continue to bring high-level Huskies coverage to Seattle,” added Huskies Sports Properties General Manager Brandon Forbis. “This partnership spotlights an exciting time for UW Athletics.”
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After 15 years of hosting morning drive and serving as a signature voice in Orlando sports radio, Orlando Sentinel columnist Mike Bianchi is moving to afternoons. Bianchi announced that his long-running Open Mike program is ending its run in morning drive on 96.9 The Game, clearing the way for a move into the afternoon slot beginning Monday.
His new show, Game On, will air weekdays from from 3pm-6pm with co-host Brandon Kravitz.
“It was the longest continuous run of any daily sports radio show in Orlando history,” Bianchi wrote in the Orlando Sentinel. “Now it’s just moving to the afternoon.”
The move to join Bianchi with Kravitz in afternoons will be called Game On as the pairing joked “like getting the band back together — except with no groupies and more tweets about whether Billy Napier is on or off the hot seat.”
The shift represents a major lifestyle change for the veteran host. For a decade and a half, Bianchi balanced his morning show duties with his newspaper column, often preparing content while much of Central Florida was still asleep.
By moving to afternoons, Bianchi trades the overnight grind for a more conventional routine — and a shot at rediscovering his evenings.
“I might even rediscover what a social life looks like,” Bianchi wrote. “I hear there are people who actually go to dinner after 6 p.m.”
Listeners can expect Game On to deliver the same blend of local sports conversation, opinionated takes, and lighthearted banter that defined Open Mike, but with a format tailored for the PM commute.
Bianchi closed his announcement in the Sentinel with gratitude for the loyal audience that made the early mornings worthwhile.
“To everyone who tuned in over the past 15 years — thank you for making it worth the early mornings and the constant existential dread of hearing your alarm at 3 a.m.,” he wrote.
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Tom Brady’s first season in the FOX NFL #1 booth was like facing a relentless pass rush with no protection and barely a second to throw. You think you’re ready, but then the whistle blows.
No amount of preparation, or in Brady’s case, over-preparation, truly equips you for the real thing. Not every on-field movement was scrutinized the way every word out of Brady’s mouth was in the booth during his rookie season.
“I thought I was prepared because I had done a lot of practice games, but there was absolutely nothing that I did that could have prepared me for what I was about to endure,” Brady told Joel Klatt on FOX’s Big Noon Conversations earlier this week. “It’s a lot like being an NFL quarterback—you think, I’m prepared, I got it, I practiced, and then you go into the real game your rookie year and you’re like, ‘Oh my God, it’s a lot different, it’s a lot faster.’”
The pressure was immense. Replacing Greg Olsen on FOX’s No. 1 team—a demotion Olsen didn’t deserve. Brady was under a searing heat lamp from day one. Add to that the financial spotlight: Brady earned roughly $330 million over 23 NFL seasons.
Did Brady Improve Under Pressure?
Then FOX signed him, with zero prior broadcasting experience, to a $375 million deal. That combination of money, scrutiny, and hype was a perfect storm for unreachable expectations. On top of that, his on-field dominance and nearly two hands’ worth of Super Bowl rings alienated a large segment of viewers who were thrilled to see the flawless quarterback stutter and stammer his way through early broadcasts.
In Week 1, Brady froze on a handoff and misnamed a receiver.
By Week 3, he flubbed a simple explanation of a blitz, leaving casual viewers scratching their heads. Over-preparation—his trademark from his playing days—was a liability early on.
“Tom brought 250 flashcards for one game,” Fox rules analyst—and literally Brady’s right-hand man in the booth for the entire 2024 season—Mike Pereira jokingly relayed to me a couple weeks ago.
Brady brings a one-of-one perspective as a seven-time Super Bowl champion, but he quickly realized that delivering every nuance of football in real time risks losing the audience.
He told Klatt he’s constantly working to simplify complex plays for viewers without diluting their meaning. On the field, Brady saw everything at warp speed. Can he slow that down for the average viewer while at the same time satisfying the football savants and critics in a way that’s insightful, informative, and entertaining—but concise?
Will the Real Tom Brady Please Stand Up
Personality also remains a crucial piece. Broadcasting requires humor, openness, and a willingness to show your underbelly. That hasn’t been Brady’s professional life. As a player, he was measured, calculated, and careful with how much of himself he let us see. He’s begun peeling back the curtain, revealing glimpses of his famously disciplined persona behind moments of levity.
Will he go all in? If he does, he could become a hybrid: Manning-level cerebral insight, Collinsworth-style storytelling, and Madden’s boyish love of the game.
By midseason, Brady began to find his rhythm. In Week 8, during a tight Packers–Lions matchup, he accurately predicted a cornerback’s jump on a crossing route before the snap, breaking it down in a way casual viewers could follow.
In Week 12, he dissected Patrick Mahomes’ under-pressure throw with precision: “Mahomes sees the rush, resets, and throws a laser—that’s a quarterback feeling the moment.”
Pereira pointed out, “I would have liked to have seen the critics compare him from Week 1 to the Super Bowl to see how far he came in one year with never having done it. Troy [Aikman] had all those games in NFL Europe with a three-man booth,” noted Peraira. “Tom, he got thrown right in there into the two-man booth and was expected to be as good as John Madden. By the Super Bowl, he was spontaneous, confident, and just himself.”
Why Critiquing Tom Brady Is Different
None of today’s top quarterback analysts took the Brady turbo rocket to the top chair. Troy Aikman spent years in NFL Europe and lower-profile broadcasts before earning the first spot. Tony Romo honed his craft gradually in the studio. Peyton Manning created a nontraditional lane with the ManningCast, using a relaxed approach tailored to his personality.
Brady was thrown into the deep end. Expected to deliver perfection on the biggest stage with none of the preparatory runways his predecessors enjoyed. Hall of Famer Joe Montana admitted broadcasting “wasn’t for me. I didn’t have the gene.” Drew Brees wasn’t dynamic enough but is determined to give it another shot.
The mic doesn’t care if you had Hall of Fame credentials on the field.
Then there’s the question of focus. Brady’s passion and competitiveness could push him to broadcasting greatness or draw him closer to his Las Vegas Raiders investment. Ownership brings influence and impact in a different way: drafting, developing, and shaping a team. Some say he won’t walk away from FOX’s $375 million contract, but his 5% stake in the Raiders is now worth roughly $335 to $395 million and growing.
Will he find that more fulfilling than weekly live analysis? In his Klatt interview, he described the booth as “a different kind of challenge… you have to be quick, decisive, and also entertaining.” That competitive drive could either fuel his rise as a broadcaster or redirect him to franchise-building.
A Big Season Ahead for Tom Brady
The next season could answer that big question. Will Brady’s fire redefine broadcasting like he redefined football, or will he channel that perfectionist mindset back into turning the once-dominant, but now more dormant, Raiders around?
He has the intelligence and work ethic. He’s shown glimpses of warmth, charm, and relatability. But here’s what people don’t understand: Brady isn’t broadcasting for your approval. He’s competing with himself. Which road will give him more satisfaction?
Seven Super Bowls won, 23 NFL seasons, and one with a headset later, he’s still measuring himself against only one standard: being the best.
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Vince Richards’ journey in radio began at KSHE in St. Louis, where he worked as an on-air personality and programming assistant. His talent and drive quickly led to his first Program Director role at the launch of WQLZ in Springfield, Illinois.
From there, Richards’ career took him to some of the country’s most competitive markets, including Buffalo, New Orleans, Kansas City, Houston, Dallas, Sacramento, and eventually back to Dallas.
When Dave Richards, then Rock Format Vice President, was promoted to Senior Vice President of Programming at Audacy, Vince was appointed Rock Format Vice Presidentin 2021. In this role, he oversees Mainstream Rock, Classic Rock, Adult Hits, and JACK stations nationwide.
Tailoring Strategies for Diverse Markets
Managing programming strategies across diverse markets requires both a steady vision and a flexible approach.
“Each market is a bit different, but the basics still apply,” Richards explains. “One station may be more of a heritage brand; another may be more open to newer music. Some are personality-driven, others are music-driven. We are not a cookie-cutter company when it comes to strategy. Each station and market is its own brand. We work closely with local programming teams, collaborate on the best strategy, come to a consensus, and execute.”
What Makes A+ Talent Stand Out
When it comes to A+ on-air talent, Richards believes the best possess certain qualities that can’t be taught.
“You can’t teach someone work ethic, or how to be funny, clever, or spontaneous,” he says. “You can teach format basics, execution, preparation, and relatability. A+ talent are often the most demanding, dedicated, and—at times—most difficult to manage. But that’s what makes them great. Radio is about connecting with the audience, being relatable, and creating a bond that brings them back every day.”
Community Connection as a Core Value
For Richards, community engagement is a non-negotiable part of building listener loyalty in all of his markets.
“It’s part of that connection that makes a difference between a P1 and a P2/P3 station,” he says.
Along with supporting national initiatives, Richards’ stations are deeply embedded in local markets. One of the company’s most impactful efforts is the “I’m Listening” program, a nationwide broadcast each September during Suicide Prevention Month that focuses on mental health, suicide prevention, and resources for those in need.
Programming in a PPM World
When it comes to ratings strategy and programming in a PPM world, the three-minute PPM rule hasn’t significantly changed Richards’ approach.
“The station strategy and execution apply regardless of the 3- or 5-minute threshold,” he says. “Listener expectations are key. We want to be laser-focused on the basics, connect with the listener, and give them a reason to stay or come back. Whether that’s a great song, a benchmark, or a compelling topic.”
The State of Rock Radio
As for the state of the Rock format, Richards sees a healthy new music cycle at the moment, though he acknowledges its unpredictability.
“There’s always really good music from very talented artists,” he says. “But there’s a difference between a good song and a good radio song. Brand Managers need to sift through and choose what works for their stations at any given time.”
Evolving with Listener Tastes
When asked what the industry needs most, Richards says it comes down to evolving with the audience.
“We need to push the limits and look at how listener tastes are evolving. Stations must evolve and push the outer limits of their brand. At a pace and in a way that doesn’t alienate listeners or fail to meet their expectations.”
From his early days in St. Louis to his current role shaping rock radio on a national level, Vince Richards has built a career rooted in adaptability, strategic thinking, and a deep love for talent and community.
His leadership continues to help Audacy’s rock stations thrive in a constantly changing media landscape.
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President Donald Trump dominated headlines — and the news/talk radio conversation — this week with a major announcement on Monday about the immediate future of law enforcement in Washington, D.C.
The President announced that he would be taking “historic action” to “take the capital back” by deploying the National Guard in Washington, D.C., and federalizing the city’s police department to “re-establish law and order”.
Midweek, the focus shifted when President Trump announced on Wednesday that he would ask the Republican-controlled Congress to extend federal control of Washington’s city police force beyond 30 days. This move further intensified his campaign to assert presidential authority over the nation’s capital.
The cable news channels were all over the story for multiple reasons. First off, many of them reside in the nation’s capital, so this one hit home for the anchors, reporters, and producers. And for those against the President, it was the latest reason they could claim he was acting as a King, Dictator, or fill in whatever synonym you’d like to use here.
However, talk radio had a different task in this conversation. Local shows needed to figure out how to localize the issue of urban crime to their communities. Meanwhile, national shows needed to figure out how to present the topic in a way that was relatable to listeners across the country, many of whom had likely never even visited Washington, D.C.
Remember, for most regular Americans, Washington, D.C., is a foreign place where the politicians they can’t stand “work,” spend their money, and largely enrich themselves. Right or wrong, that’s their viewpoint.
So if you’re a local show, just copying and pasting Fox News talking points on this issue would be a huge disservice to your listeners. Americans will be aware of issues in Washington, D.C., Chicago, and other major cities. However, some of the most violent cities on a per capita basis in America are overlooked cities by our national media outlets: St. Louis, Memphis, Cleveland, Milwaukee, Kansas City, New Orleans, and Las Vegas are not cities that most Americans would realize have some of the highest homicide rates in the country.
If you’re a talk show host in any of these communities, localizing this national topic is easy. And even if you’re in a safer city, has your town seen an uptick in crime in recent years? What are the main drivers? How stable is the police force? Is it fully staffed? The variety and depth of topics off the main topic tree for this issue create a tremendous opportunity.
Now, for national hosts, how do you make this story relatable to the rest of the country? Is Trump just using this Washington D.C. issue to tap into a sentiment that exists in many major urban centers around the country that their local leaders aren’t able to handle the violent crime increases in recent years? If you have affiliates in some of the higher per capita homicide rate cities in the country, can you lean on them? Utilize your local audiences nationwide to make it relatable to Americans in flyover country.
Rather than zooming in on the Washington D.C. specifics, zoom out from Washington D.C.
How about this: If Trump’s plan is successful, could he offer National Guard assistance to other cities? Would you want that for your city?
What’s a common thread to these cities around the country dealing with rampant homicide rates? They’re in blue states and red states, so how do we connect these dots? Is Trump’s DC decision bringing up a broader national conversation on crime that needs to be had?
Ultimately, the debate isn’t just about Washington, D.C. — it’s a mirror reflecting America’s struggle to balance authority, safety, and self-government in every city across the nation.
Be interesting, thoughtful, and have depth on this one. Your audience will thank you.
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Sports radio fans have grown to know the name Scott Ferrall for over four decades. The no-holds-barred entertainer has performed in nearly every nook and cranny of the sports media business. From hosting programs on terrestrial, satellite, and digital properties, Ferrall has cultivated a growing and devoted following for his no-nonsense approach to sports and entertainment.
“I have this shock jock reputation. All this trouble, other nonsense and bulls**t that they say about me,” said Ferrall. “I’ve been on nationally for over 35 years, 41 years in the business. I’ve only done enormous gigs. Even with SportsGrid, I turned it into an enormous gig for me because I made it that way. I took nothing and turned it into something huge. Whatever I touch in this business turns to gold.”
Last month, Ferrall was one of several cuts at the digital 24-hour sports wagering network SportsGrid. He hosted two programs on the network — Ferrall Coast-To-Coast and In-Game LIVE — since joining SportsGrid in 2020. While providing his skills to SportsGrid, Ferrall produced a side venture with Micky “The Prophet” Faust on Prophetable.tv.
Weeks after his dismissal from SportsGrid, Ferrall says he believed he produced a quality program for the network and had never once had any issues.
“They made decisions and obviously restructured it,” explained Ferrall. “The last couple of years, my agent told me a couple of times that they didn’t like the money they were giving me. In that regard I would say, you cut the deal with me. They were fine when they cut the deal. Years later I think they may have not liked paying me that much money. Whatever.”
Moving on From SportsGrid
Ferrall began with SportsGrid during the COVID-19 pandemic in 2020. He built a home studio to house production of his program for the network. After signing in 2020, SportsGrid co-founder and President Louis Malone told Forbes he saw Ferrall as the “face of the network” following Ferrall leaving his nationally syndicated radio show on CBS Sports Radio.
Five years later, Ferrall was fired by SportsGrid as he laid by the pool.
“All shows end. Simple as that, all shows end,” noted Ferrall. “It was kind of candy a** for me, no big deal. I’m a big boy. I didn’t cry or run to the bottle or run to my mommy’s nipple.”
Instead of sitting on the sidelines, Ferrall got back to work. He continued producing the Ferrall & The Prophet podcast, increasing the length of each episode.
According to Ferrall, the growth in the podcast’s reach since making the changes has been up over 500%. He is leaning on his devoted following following his exit from SportsGrid. Ferrall admits the freedom of not being tied to SportsGrid allows him to return to being himself without any restrictions.
“Radio has had a hard time competing with great podcasts. Podcasts are killing radio,” said Ferrall. “I did those podcasts at SportsGrid. They did well on Apple and iHeart. This show is going to be a thousand times better than those shows. Those shows were pu**y podcasts. This show is full-on bad a**. It gives people exactly what they want.”
Ferrall has never shied away from incorporating sports gambling content into his programming over the years. With legalization of sports wagering becoming more the norm around the country, Ferrall considers himself ahead of the game in attracting the attention of the consumer who chooses to wager.
However, he has noticed since beginning with SportsGrid just five years ago that the sports betting content industry has more players than it really needs — players Ferrall believes are fake and hurt the perception of the industry.
“There’s a saturation of it. There’s a lot of people doing it that are blowing smoke. Talking about how genius they are,” said Ferrall. “A lot of people on TV and radio now are blowing smoke about all these big bets they make. I’d say about half or more are full of s**t, and they don’t even go to the sportsbook. They don’t make bets… A lot of these shows, these guys are acting like they’re betting. I think they’re full of s**t.”
Another trend Ferrall has noticed with more states legalizing the practice of sports betting is the amount of commercials and marketing surrounding it. Brands such as FanDuel and DraftKings and others have massively increased their advertising spend over time, which Ferrall relates to brainwashing the consumer.
Another trend he feels hurts the perception and highlights the dangers of sports wagering.
“They brainwash people. They run those ads so many god d**n times, you want to kill yourself watching them,” exclaimed Ferrall. “They’re so painful, and they just cram them down your f***ing throat during football season. My God, I need a shrink. I see so many of the betting commercials. Some of them are so bad and so embarrassing. Some of their ads, it’s the worst thing that’s ever happened to television.”
Howard Stern Being “Cancelled” by SiriusXm?
When Ferrall was hosting programs on SportsGrid, the digital 24-hour sports wagering network was able to secure a deal with SiriusXM in 2021 — a deal Ferrall credits to his previous relationships with the satellite radio company. SportsGrid no longer airs on the satellite radio distributor.
Previously Ferrall hosted programs on SiriusXM under Howard Stern’s Howard 101 channel from 2006–2012 and still maintains a solid relationship with the talk radio icon.
With recent headlines of Stern’s program reportedly being canceled by SiriusXM because of an expiring contract, Ferrall hopes for the best outcome for all parties involved in the decision.
“I went to parties with Howard, and he would always say he’s not going to do it forever to me. That he was going to retire. I never believed him because he was just so awesome at doing it,” said Ferrall.
Ferrall stays connected with many longtime friends at SiriusXM who work for Stern. He understands that times have changed, and so has Stern, like any other talent. Ferrall hopes whatever the outcome is, he has nothing but respect for the legacy Stern has in the media industry.
“I wish nothing but the greatest things in life for my pal Howard Stern,” said Ferrall. “I would never think I knew anything about what’s going on with that deal, because I don’t. I flat out don’t know anything about it. Some of my friends have told me one thing or another about it, and I don’t really want to get my hands dirty in that mess.”
Ferrell “Off” the Bench Sooner Than Later
No bosses. No rules. No fake friends. Just winning fat stacks, sports, & FREEDOM. Yeah yeah ! pic.twitter.com/uWKRS4Ov0n
With over four decades in the industry and success at every stop he’s made. It’s fair to wonder if the 60-year-old Ferrall would consider a return to radio following his removal from SportsGrid. While he says he would never recommend beginning a career in the industry to even his own son, a return could be in the works for the elder Ferrall.
“Would I do it again in the right circumstances? Yes,” said Ferrall. “In the right setting, yes I would do it. There’s been some talk about me doing some stuff. There’s been some calls. There’s been some people that have approached me about things. We’ll see where it goes.”
Ferrall admittedly is not a fan of what he terms as “suits” and has been disappointed in the way radio stations are currently being run. Although there has been interest in business lately, he wishes TV and radio executives would stay out of the entertainment portion of the business, allowing performers to entertain.
Could one last ride be left in the tank for Scott Ferrall? As long as he’s having fun on his timeline, it could be a wager worth betting on.
“I am an old fart. I’m close to being finished. Six years from now, I’ll be done,” said Ferrall. “I’m not one of these guys that’s going to linger until he’s 75. I want to live life, and I want to stop doing this at some point. Right now is not the time. I’m having too much fun, and we’ll see where this goes.”
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One way to get my blood pressure to spike is for someone to tell me, “radio is dead.” Yes, radio has its share of problems. Most self-inflicted. But dead, no.
Many people tell me, “I listen to my Spotify playlist.” Including someone who shall remain nameless in my own home.
There’s no denying that streaming platforms have their place. Spotify can create a playlist based on your listening habits. YouTube can feed you music videos. And yes, the algorithm sometimes gets it right.
However, there are things that streaming platforms can never do that Country Radio excels in. Creating a community connection, cultural relevance, and making the music feel like your own. And the algorithm can’t replicate the experience of a real human behind a microphone.
Here are six reasons why Country radio will continue to be a superior consumer experience for Country music lovers.
Country Radio Lives Where You Live
Spotify doesn’t know when your local high school football team just won the state championship. YouTube isn’t going to dedicate airtime to raising money after a tornado hits your town. But the local Country station will be all over it.
Localism is baked into Country radio. When Garth Brooks plays your city, your station has boots on the ground in the parking lot, meeting listeners face-to-face. When there’s a snowstorm, your DJs are disseminating information.
DSPs give you music. Period.
Shared Moments
The streaming playlist is static. Even when it’s “updated,” it’s still just a list of songs. Country radio is dynamic; it’s appointment listening. You know the DJ’s voice, you know their sense of humor, and you feel like they know you.
This is why radio has staying power. The music is the backbone, but the connection is the hook. Streaming services deliver songs. Country radio delivers experiences.
Radio Knows the Culture – Algorithms Don’t
Country music is a culture with deep traditions, from the honky-tonk barroom to the stadium stage. It’s built on storytelling—the songs about hard work, heartbreak, faith, and Friday night field parties.
When a new single drops from Luke Combs or Lainey Wilson, Country radio doesn’t just play it. They frame it. They tell you what inspired it, how it’s climbing the chart, and why it matters right now.
An algorithm might see you liked “Fast Car” and feed you an endless stream of acoustic covers. A good Country PD knows you want the story behind how Luke brought that song back to life for a new generation, and they’ll make sure the artist tells you in their own words.
Discovery is Different
One of the biggest myths about streaming is that it’s inherently better for music discovery. Spotify’s “Discover Weekly” might feed you a few tracks you’ve never heard. But those are based on data points. Not taste, not instinct, and not a feel for the audience.
Country radio music discovery works differently. It’s curated by people who know the format. Who knows the history, and can spot the difference between a song that’s catchy and a song that’s going to be a hit.
Radio has the power to take a song from unknown to a hit. Think of how many times a now-iconic track started as a “hot new song” in rotation before anyone knew the artist’s name.
Streaming is passive discovery. Radio is an active champion.
Listening to the Same Thing
There’s something almost magical about driving through your town, knowing that in the diner, the hardware store, and the school pickup line, people are hearing the same song at the same time.
With streaming, everyone’s in their own bubble. You’re listening to your playlist. Your friend’s listening to theirs. The shared soundtrack disappears.
Country radio keeps that collective moment alive. It turns a hit song into our song because we all experienced it together.
You Can’t Out Local the Local DJ
Spotify doesn’t talk back when you call. You can’t win concert tickets on YouTube. You’ll never hear your birthday shout-out in a curated playlist.
But your local morning show? They’ll remember that your kid’s heading off to college. They’ll laugh with you about the time your husband sang karaoke in cowboy boots. They’ll put you on the air when you’ve got something to say.
That human element isn’t just nice to have. It’s the foundation of trust.
The Bottom Line
Spotify, YouTube, and every other DSP have their strengths. They’re great on-demand jukeboxes. But Country radio is more than a jukebox. It’s a neighbor, a cheerleader, a storyteller, a friend and a community hub.
The difference comes down to this: DSPs give you music for you. Country radio gives you music with you. One is a service and transactional. The other is a relationship.
And in Country music, that relationship is everything.
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One of the more difficult things in sports media is being a startup. With all the planning, plotting, and arranging it takes to conceptualize, the launch is the greatest celebration. However, it’s only temporary. Sports podcasting is a growing enterprise where many voices crowd an ocean of content, with very few able to come up for air and continue to breathe. When I saw former 670 The Score host Dan Bernsteinannounce that he would be jumping in the same waters as many others, I had questions as to why.
Bernstein enjoyed thirty years working in one of the top markets in the country. A distinguished talent whose voice carried weight and established narratives around the local teams of the market. Many in the market would place him on their Chicago sports radio Mount Rushmore, among other names such as North, Boers, McNeil, and Coppock.
While there is much buzz about Bernstein’s first episode of the podcast, I ponder what he could possibly say.
It should be noted that I once interned for Dan Bernstein when I began my radio journey some twenty-one years ago. It was a short internship with the Boers & Bernstein show, but I came to enjoy a kindship with Bernstein over time. I spent seven years at 670 The Score from 2004–2011, producing morning drive and working a number of other roles for the station and CBS Radio at the time.
Now living outside of the radio station, I can understand the desire for going out on your own terms. We would all love that luxury. My end at 670 The Score was my own decision, taking an opportunity to work for iHeartMedia in Tampa Bay. My end in Tampa Bay was unfortunately not my choosing, so I can relate to how Bernstein may have felt following his exit at 670 The Score.
Sure, you can say I’m comparing apples to oranges. But I digress.
Predictions For Dan Bernstein Unfiltered
When it comes to Bernstein’s first “unfiltered” episode, there will be a nod to the events that led to his dismissal at 670 The Score. Given the nature of what happened, I would fully expect Bernstein not to get into too much detail about the behind-the-scenes of how the decision was made.
I fully suspect that, as the first episode may be labeled “unfiltered,” there will be some filtering on wording and approach for good reason.
Will there be a Bernstein apology? Being that he has been completely silent since his dismissal from 670 The Score, I would fully expect Bernstein to share somewhat of an apology. I know Bernstein as a genuine person, a family man, a devoted father, and human. He made a mistake.
Who the apology is made to and for what, I’ll leave for him to decide.
We’ve seen former sports radio talent move to the podcasting realm before with the label of “unfiltered” attached. Typically, one would expect this label to lead you to believe that there are no rules or guardrails in the content approach. “Unfiltered” is a flashy adjective, but is anything today in the digital world truly “unfiltered?”
Do I believe that Bernstein was held back from saying certain things about certain people while he was hosting at 670 The Score in Chicago? In my experience, more than likely not.
Bernstein knew the line of demarcation when it came to his content approach. He was a reporter turned broadcaster who knew never to get personal, knowing that being honest with the audience would lead to success. Bernstein achieved a lot of success during his time in Chicago, ranking consistently near the top of the Men 25–54 ratings most quarters.
Bernstein’s former producer, Jason Goff, even confirmed as much on the latest edition of his podcast The Full Go when talking about how he left Chicago for an opportunity in Atlanta.
“For fifteen years in the third market in the country, I’ve been telling people exactly how I felt and they just kind of rode with it,” said Goff on The Full Go. “Whether you like it or you hate it, you’re going to feel some way about it. That’s the only thing I cared about.”
That doesn’t sound like Goff or anyone at 670 The Score was being “filtered.”
I fully expect Bernstein to approach the daily podcast as he did for over two decades: deep opinion rooted in information, challenging the norm, also served with fun and a laugh or two along the way.
Can Bernstein Cut Through in Podcasting
The real question for Bernstein is longevity in the podcasting space. Remaining a Chicago sports–focused product limits reach and discoverability, though it also provides a niche focus.
There are a number of successful Chicago-based sports podcasts already living and thriving. Barstool Sports, a company Bernstein is believed to not be a fan of, is based in Chicago with a number of podcasting options. Bernstein’s former producer Jason Goff has his Chicago-based podcast with The Ringer. The ALLCITY Network has an established CHGO Sports brand that also includes a number of successful podcasts and FAST channel access.
While there is much competition for Bernstein to tackle, interest in the debut is already high.
The trailer for the new podcast launched on Tuesday and ranked as high as sixth on Apple’s podcast ranker for the sports category. I would fully expect the new 312 Sports Podcast Network to place more teaser clips online over the coming week, both on podcast platforms and social media, to enhance interest.
In podcasting, it’s not about number one. It’s about number one hundred. The forward vision for any successful podcast has to be present at the very onset. We discuss all the time how being unique leads to growing an audience on the Barrett Media platform. Staying stagnant and complacent in what you’re doing only produces limited results.
Bernstein is a well-known commodity that will drive audience with the new look and flashy sound, but will it resonate long-term with an audience while growing?
I hope so.
I’m a big believer in second chances, as I’ve been afforded many in my career. I believe this new era for Dan Bernstein is less about being “unfiltered” and more about “evolving.” I’m excited to see how Dan Bernstein approaches his journey as a second opportunity to do what he’s always done, but better than before.
Maybe, in fact, that’s the why after all.
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In the crowded landscape of digital content, Reality Check with Ross Coulthart from NewsNation is proving that a fresh approach can cut through the noise.
Since the inception of the YouTube Podcast Charts earlier this year, the show has been in the top 100 each week. Most recently, it outperformed some of the biggest names in the medium — beating out Call Her Daddy, Flagrant, and Mel Robbins. Even more impressively, it topped legacy news giants like 60 Minutes and PBS NewsHour in the most recent rankings. That’s not a one-week fluke. It’s a sign of a program that understands its audience, its niche, and how to deliver on both.
For many, those rankings might come as a surprise. After all, Reality Check is not chasing the traditional podcast formula that blends celebrity gossip and interviews, viral videos on TikTok, or shock humor.
Instead, Coulthart dives into subjects the mainstream press often treats with skepticism or avoids entirely. He has built an audience by covering topics that, as he puts it, “media isn’t supposed to be interested in.” Whether it’s UFOs, government secrecy, or unconventional geopolitical analysis, he’s not afraid to lead with curiosity.
That’s exactly what makes this success so noteworthy. Podcasting is often celebrated for its diversity of voices and formats, but the most visible successes have historically skewed toward certain genres — comedy, self-help, celebrity interviews, and a few elite news brands. Coulthart’s presence near the top of the YouTube charts broadens that picture. It shows that even in a platform environment dominated by entertainment-first content, there’s a significant appetite for deep-dive reporting into topics that seem too unconventional for the evening news.
What makes Reality Check’s chart performance even more interesting is the mix of competitors it’s outpacing. Call Her Daddy isn’t just a podcast — it’s a cultural phenomenon, with massive Spotify deals and nonstop mainstream coverage. Flagrant thrives on unfiltered banter and big-name guests, often pulling millions of views with just a few clips. Mel Robbins’ show rides the wave of the booming motivational podcast market, while 60 Minutes and PBS NewsHour carry decades of journalistic credibility and built-in audiences.
Yet Coulthart’s program, without the same level of corporate promotion or brand saturation, is beating them where it counts — in the latest YouTube rankings.
That tells us two important things about the current podcast environment. First, the YouTube Podcast Charts aren’t simply an echo of legacy media power. They’re reflecting genuine audience engagement in a space where viewers vote with their clicks, not just with name recognition. Second, niche subject matter, when executed with authority and intrigue, can compete with — and sometimes surpass — the biggest names in the business.
Coulthart’s advantage lies in his presentation style. He’s not shouting over his guests, chasing viral one-liners, or relying on gimmicks. Instead, Reality Check delivers a sense of urgency and importance in every episode. He treats even the most unconventional topics with the same seriousness as a high-profile political interview. That builds credibility with his audience and separates the show from the pack.
There’s also a lesson here for anyone producing digital content in 2025: the “safe bet” isn’t always the winning bet. NewsNation could have launched yet another conventional political roundtable or celebrity-driven interview series. Instead, they backed a journalist with a track record of investigative depth and a willingness to explore the stories that other outlets leave on the cutting room floor. That risk is paying off in measurable, public ways.
Of course, no one should pretend the rankings alone make Reality Check the future of news podcasts. YouTube is only one platform, and the dynamics of chart performance can change quickly. But podcast consumers are hungry for something different — and not “different” in the contrarian-for-contrarian’s-sake way that often burns out quickly. They’re looking for hosts who treat them like smart, engaged adults who can handle a topic that doesn’t fit neatly into the day’s partisan narratives.
The fact that Coulthart is winning those viewers while competing against shows with far bigger promotional machines says a lot about the power of trust and consistent delivery. Reality Check may never be as flashy as the top entertainment podcasts, but it doesn’t need to be. Its chart position speaks for itself, and more importantly, it speaks for an audience that values depth over spectacle.
In a medium that thrives on diversity of content, Reality Check with Ross Coulthart is living proof that there’s still room — and an eager audience — for the kind of reporting that challenges, surprises, and informs. The recent rankings aren’t just a win for Coulthart or NewsNation, which needs to create impact in any way that it can.
They’re a reminder that the future of podcasting is as wide-open as the questions he asks every week.
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.
