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Damiano David is iHeartMedia’s latest “On the Verge” artist with his new solo single, “Born With a Broken Heart.” In a first for iHeart, he will be featured across three formats, with all iHeartRadio CHR, Hot AC and Alt stations participating in the promotion. Damiano, 25, is best-known as frontman for the Italian rock band Måneskin, […]
Kix Brooks is marking the end of an era, as he steps down from his nearly two-decade role as host of the national country music radio show American Country Countdown. Brooks’s final broadcast will air the weekend of Dec. 28-29, 2024.
Beginning the weekend of Jan. 4-5, 2025, country radio personality Ryan Fox will take over as host of American Country Countdown with Ryan Fox. Fox currently serves as on-air host, mornings, at Dallas country station KPLX/99.5 The Wolf.
Brooks took on the hosting role at American Country Countdown in January 2006, guiding listeners through each week’s top hits, while both entertaining them with his wit and humor, but also offering deep insights into artists, the country music genre and its rich history.
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“I never dreamed I would be asked to host a legendary international radio show like American Country Countdown,” Brooks said in a statement. “The fact that I have been supported by hundreds of affiliates and an amazing team of radio professionals for 18 years has made this one of the greatest experiences of my professional life. It’s time to turn my primary focus back to writing, recording and touring with Brooks & Dunn. It’s been an honor, to say the least, that I was trusted with a microphone that had such an iconic history. Special thanks to all the fans who listened and participated, to ensure that I was being the best that I could be. Keep counting ‘em down!”
Brooks’s work leading American Country Countdown, which is broadcast to more than 300 station affiliates nationwide through Westwood One, was honored with the Country Music Association’s national broadcast personality of the year in 2009, 2011 and 2013, making Brooks the first person to win a CMA award in both artist and broadcast categories. He also claimed the Academy of Country Music’s radio award for national personality in 2021.
Fox said in a statement, “To be given the opportunity to take the reins on one of the longest running, most successful, Country countdown shows in the world and sit in the same chair as Hall of Famers like the legendary Kix Brooks and the late, great Bob Kingsley, is a tremendous honor. This is a terrific era for country music, and I cannot wait to count down the biggest country hits from coast to coast!”
As part of Brooks & Dunn, Brooks just picked up a 15th win in the Country Music Association’s vocal duo of the year category during last week’s CMA Awards, held Nov. 20 in Nashville.
Brady Bedard has been appointed as the executive vice president of promotion for Atlantic Music Group, transitioning from a 26-year career at Sony Music and Columbia Records, where he most recently served as senior vp of pop promotion. In his new role, Bedard will take the lead on promotion strategies for the Atlantic, 300 and 10K Projects labels.
Bedard’s career has been marked by significant contributions to the success of high-profile artists such as Adele, Beyoncé, Harry Styles, Miley Cyrus, BTS, and many more. A native of the Twin Cities, he began his career as a college rep for Sony Music in 1998. Over the years, he progressed through roles in marketing and radio promotion, eventually landing his most recent position in 2018. His expertise spans multiple genres and a deep understanding of the evolving radio and music landscape.
AMG CEO Elliot Grainge praised Bedard’s extensive experience and strong industry connections, emphasizing his ability to navigate the complexities of promotion.
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“He’s expertly navigated the ever-shifting radio landscape for more than a quarter century, with a passionate devotion to the music and deep relationships across the industry,” said Grainge.
Bedard’s appointment is part of a broader leadership restructuring under Grainge, who recently also named Alana Dolgin as the label’s first president of digital marketing, underscoring AMG’s focus on digital innovation.
This leadership evolution aligns with broader strategic initiatives at Warner Music. In last week’s earnings call, Warner CEO Robert Kyncl commended Atlantic and Warner Records for driving growth through innovative talent discovery and promotion. He highlighted the success of 10K Projects, a joint venture between Warner and AMG, attributing its rapid growth to Grainge’s digitally driven strategies. Kyncl also lauded Grainge’s intensity — “I love that about him,” he said — and decisive leadership, which he believes attracts top talent.
Bedard expressed enthusiasm for his new role, citing Atlantic’s legacy of artist development and its strong reputation in radio promotion.
“Having spent my entire career so far at one company, the only other place I could ever imagine working is one with such a rich history of artist development and genre-spanning roster as WMG,” said Bedard. “Atlantic is a legend in the radio promotion business, and to join the company at this transformational moment is tremendously exciting. I want to thank Elliot for this amazing opportunity.”
When Jack and Jill went up the hill, they got more than just a pail of water. Or, at least, Jill did. Jack didn’t really stick around.
Jordan Fletcher, in the closing track on his Triple Tigers EP Classic (released Sept. 27), rewrites the centuries-old “Jack and Jill” nursery rhyme with a surprising, modern-day twist. “About Jill” is a sensitive, almost celebrant, portrait of a single mom raising a boy who looks very much like his father, an immature rich kid who leaves a pregnant girl to fend for herself.
But Jack isn’t really the story of “About Jill.”
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“No one likes Jack,” Fletcher allows, “but you don’t want to make him the focal point.”
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Fletcher didn’t know Jack would be the topic du jour when he showed up for a co-writing session with Nora Collins (“Leroy”) at Sea Gayle in Nashville on March 16, 2022. They ended up talking about how she was rebounding from the pandemic, and in the process, Fletcher started thinking about the challenges that single women face trying to succeed in a male-dominated world. He turned to his phone for an appropriate title.
“I think I’ve got 50,000 – that’s a real number – I think, 40,000 or 50,000 voice memos on the phone of partial songs, ideas, partial ideas, full songs, completely unorganized,” he says. “And I had this thing called ‘Jack and Jill.’”
They figured out pretty quickly that they could use that title to write about a woman finding her way.
“He said, ‘You know that everybody knows Jack, but they don’t know jack about Jill,’” Collins recalls. “That got me. He started playing a little guitar part, and then I started writing that first verse.”
The nursery rhyme gave them an obvious starting point, and they altered the rhyme just enough to change the story’s direction: “Jack and Jill had time to kill.” They make out on a back road, and things develop quickly: by the end of line three, she’s pregnant, he decides he’s “too young for kids,” and he leaves it to “Jill to choose.” It’s a subtle hint that she considered an abortion (they wrote that line three months before the Supreme Court’s Dobbs decision stripped many women of that choice). They broached the topic so gracefully that the controversy is all but eliminated.
“I think that that was important,” Collins says. “It was, you know, ‘Let’s lightly discuss a really hard topic, and let’s empower Jill.’”
The remainder of the verse and the chorus paint Jack as a playboy who eventually ends up living an easy life with a girl he meets in college. And it’s at the end of that chorus that the hook makes its debut: “Everybody knows Jack/ But they don’t know jack about Jill.”
Musically, “About Jill” disguises the serious nature of the story, using a light chord progression and breezy tempo, maintained by a strong upstroke, owing in part to Fletcher’s reggae appreciation.
Verse two contrasts Jill’s struggles with Jack’s good fortune. She works two jobs, drives a hand-me-down car and can’t look at her boy without seeing Jack’s reflection. But she still loves the kid. “She has a very, very difficult situation,” Fletcher says. “This turns out to be a lot of people’s story, and I didn’t realize that. It’s a story that wasn’t really told often.”
The bridge reiterated her ability to stay positive, concluding that life had given her lemons, but “she makes damn good lemonade.”
“You can’t predict what life’s gonna hand you,” Collins says. “It’s all a choice, how you choose to deal with things. Life by no means is easy for anyone, and if you’re a single mom or a single parent, you do the best that you can for your kid, and you got to make lemonade.”
Collins sang on the work tape at the end of the day as they considered several women – including Lainey Wilson, Ella Langley and Miranda Lambert – as potential matches. “About Jill” received good feedback, but no cuts. Meanwhile, Fletcher posted a back-porch video of the song a week after they wrote it, with the sounds of birds and traffic in the background. He finally decided to record it himself for the Classic EP.
“It honestly is sweeter coming from a guy, because it just seems more objective,” he reasons. “I could definitely see how a female would feel like it was a man-hating song, but if a guy’s singing it, it’s just a very observant song.”
Producer Austin Nivarel (Jelly Roll, Austin Snell) identified “About Jill” on first listen as a song they needed to cut, and he and Fletcher agreed that it should be presented as simply as possible. “We wanted it to just feel so real and raw,” Nivarel says.
They accomplished that by cutting it as a guitar/vocal track at the Black River studio complex on Nashville’s Music Row. Engineer Nick Autry set up two mics in the center of the studio and a couple more placed elsewhere to capture room noise. But after one or two test passes, Nivarel had the room mics shut down, deciding instead to make it authentic to Fletcher’s back-porch demos.
Fletcher played about two feet away from the mics, tracking the guitar at the same time as his vocal, which meant that his voice and the supporting instrument both appeared on every track. The performance itself had to be right, since Nivarel was unable to do much tinkering later – if he were to boost the low notes in Fletcher’s voice, for example, it would also boost the bass in the guitar notes.
“Since the vocal mic is picking up the guitar, you get what you get,” Nivarel says. “You can’t perfect performances. You can’t do too much to edit something like that. So everything the listener hears is very real.”
Fletcher also cut 3-5 minutes of environmental sound from his back porch, and the resulting atmospherics are used to present the singer even more authentically.
“About Jill” provides the clearest picture of Fletcher’s vocal sound and artistic sensitivity. But it also has increased value in the immediate aftermath of the election. Within days, misogynists began posting crude “Your body, my choice” threats on some women’s social media pages. As a result, “About Jill” rises from a well-crafted song to an important one about decency and real American values.
“I want to give light to it,” Fletcher says. “It just tells the positivity and the strength of this woman that [does what] so many women do daily. It’s the side of the coin people don’t want to look at, but it is right there.”
The Country Radio Broadcasters/Country Radio Seminar board of directors has made two significant updates to the eligibility and selection criteria for its annual New Faces of Country Music Show.
Billboard‘s Hot Country Songs chart has been introduced as a qualifying measure for New Faces eligibility, joining the existing Mediabase Country Chart published in Country Aircheck. The expanded chart criterion incorporates digital sales and streaming data alongside terrestrial radio airplay to offer a more comprehensive view of music performance metrics.
RJ Curtis, executive director at Country Radio Broadcasters, said in a statement: “The revised New Faces Show chart criteria more broadly reflects how our music is being exposed and consumed in 2024, and how its performance is measured. While radio airplay continues to be the critically important calculation for artist success, digital sales and streaming data are also important, accurate factors in identifying the rising New Faces and voices in country music.”
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The second update places the responsibility of determining artist eligibility and management of the submission process on record labels and artist representatives. Representatives will now confirm that artists meet the minimum criteria, submit their names for ballot inclusion, and verify artist availability and willingness to perform if selected.
This shift is also aimed at increasing the level of industry involvement and accountability, ensuring artists chosen reflect the current and future landscape of country music. The new criteria are in effect for the Nov. 1, 2024, to Oct. 27, 2025, qualification period, which will impact the New Faces of Country Music Show lineup for the Country Radio Seminar 2026.
Artists must have at least one but no more than five top 25 singles on Country Aircheck‘s Mediabase Country Chart or Billboard‘s Hot Country Songs chart during the qualification period. Voter eligibility requirements state that “voters must be full-time employees in programming, promotion, or distribution of country music, excluding those with vested interests in individual artists.”
The ballot will include all qualifying artists submitted by their representatives, with artists listed in alphabetical order. Ballots will be reported to and approved by the Country Radio Broadcasters executive committee before final selections are made.
The 2024 New Faces of Country Music Show, held during March’s Country Radio Seminar, featured artists Megan Moroney, George Birge, Dillon Carmichael, Corey Kent and Conner Smith. Since its inception in 1970, the show has put some of country music’s brightest new talents in the spotlight, including Tim McGraw, George Strait, Taylor Swift, Faith Hill, Keith Urban, Luke Combs, Miranda Lambert and Jelly Roll.
As iHeartMedia deals with weak advertising trends and another round of layoffs, the country’s largest broadcast radio company will save $200 million in 2025 compared with 2024 and has renegotiated 80% of its long-term debt, the company revealed on Thursday (Nov. 7) in its third-quarter earnings release.
The debt “exchange offers,” which are expected to close by the end of the year, will extend the majority of iHeartMedia’s debt maturities by three years, allow cash interest expense to “remain essentially flat,” and provide for “some overall debt reduction,” CEO Bob Pittman said during an earnings call. “The transaction support agreement marks an important step in our effort to optimize our balance sheet, and it provides the company with the flexibility to remain focused on iHeart’s transformation.”
The disclosure about cost savings and revamped debt comes days after news broke that iHeartMedia had laid off dozens — hundreds, according to one report — of staffers from radio stations around the country. Pittman called the layoffs part of iHeartMedia’s “modernization journey” that will create a flatter organization, eliminate redundancies and make it easier to do business with the company. Those cuts add to three rounds of layoffs in 2020 as the radio business struggled with an advertising slump during the first year of the pandemic.
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Throughout the earnings call, Pittman and CFO/COO Rich Bressler underscored the company’s embrace of technology to make improvements and cut costs. “Technology is the key to increasing our operating leverage and is a constant focus for us,” said Pittman. “It allows us to speed up processes, streamline legacy systems and it enables our folks to create more, better and faster.” Technology alone will reduce annual expenses by $150 million in 2025, he said, while measures taken earlier this year will bring the total annual savings to $200 million.
In explaining how iHeartMedia uses technology to save such a large sum of money, Pittman gave the example of expanding the reach of on-air talent. “What we’re able to do now, because we’ve got technology, is we can take talent we have in any location and put them on the air in another location,” he explained. “So it allows us to substantially upgrade the quality of our talent in every single market we’re in and allows us to project talent into the situations in which you’re going to have the best impact.”
As for the financial performance, iHeartMedia’s third-quarter revenue increased 5.8% to $1.01 billion, meeting the company’s prior guidance of mid-single-digit growth. Excluding political revenue, revenue was up 2.0%. Adjusted earnings before interest, taxes, depreciation and amortization (EBITDA), a common measure of operating profitability, was flat at $204 million and fell on the low end of the guidance range of $200 million to $220 million.
At iHeartMedia’s multi-platform group, which includes broadcast stations and radio networks, revenue fell 1.1% to $619.5 million and adjusted EBITDA dipped 20.1% to $129.9 million. Broadcast revenue dropped 1.4% due to lower spot revenue but was helped by an increase in political advertising.
The digital audio group, which includes podcasts and iHeartMedia’s digital service, saw its revenue jump 12.7% to $301 million and its adjusted EBITDA improve 6.8% to $100 million. Podcast revenue grew 11.1% to $114 million. Audio and media services revenue rose 45.3% to $90 million due to the political advertising spending for the recent national and local elections.
iHeartMedia’s Q3 2024 financial metrics:
Revenue: up 5.8% to $1.01 billion
Adjusted EBITDA: flat at $204 million
Net loss: up 360% to $41.3 million
Free cash flow: up 8.4% to $73.3 million
The world’s biggest broadcast company, iHeartMedia, has laid off another round of employees in recent days, as the debt-plagued radio industry continues to contract during the music-streaming era. “Right now, it seems like the business model they’ve had the last few years, of making one person do 40 people’s jobs, is where it’s going,” says Nick Jordan, an assistant program director of Raleigh, N.C., country station WNCB until he lost his iHeart job Monday (Nov. 4). “But we did a good job, for as long as we could, keeping everything local and community-oriented.”
A rep for iHeart, which owns 860 stations in 160 U.S. markets and advertises “there’s a local iHeartRadio station virtually everywhere,” would not specify the number of recent layoffs, which follows a wave of job cuts in March and others since the pandemic. Radio-news outlets such as Radio and Music Pros and Barrett Media have listed more than a dozen laid-off names this week, including morning-show hosts, promotion and programming execs and big-city regional directors. Jordan said he was watching a video Monday morning of Bill Squire, an iHeart colleague who lost his job in Cleveland, when “one of the big bosses” walked into his own station to deliver the news.
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“S— happens,” says Jordan, 31, a nine-year industry veteran. “It’s part of the radio business.”
Although radio listenership has declined, according to some studies, the business remains resilient, drawing 82% of adult Americans as of 2022. And while major labels such as Universal and Atlantic have correspondingly laid off radio-promotion employees over the past year, the medium is still important for breaking hits, especially in country and other genres.
According to Wendy Goldberg, an iHeart spokesperson, “very few jobs” have been affected in the 10,000-employee company. She rebuts data that suggests a decline in audience consumption.
“Our broadcast radio audience has more listeners than it did 10 years ago,” she says, citing a Nielsen study that shows that younger listeners increased slightly in the third quarter of this year. She adds that iHeart remains “the No. 1 podcast publisher, bigger than the next two combined, and we’re five times the size of the next largest digital-radio service.”
“We’ve been able to achieve this by modernizing the company and increasing our use of technology,” Goldberg says in a statement. “These changes are another step in that journey.”
Squire, a stand-up comedian who has co-hosted the Alan Cox Show on Cleveland rock station WMMR since 2013, received the news of his layoff by phone Monday a.m. “They assured me it’s not performance-based: ‘There are big cuts across the company and there’s nothing they can do,’” he recalls.
Squire, who plans to return to the road as a touring comic, promoting his album We’re Getting Famous, says the radio business is “cutting costs wherever they can.” While Jordan is hopeful the “pendulum will swing back a little bit,” Squire says of media cuts: “You see it in radio, you see it in TV, a lot of Hollywood is out of business right now. The entertainment field has changed so quickly with the Internet and YouTube and podcasts that legacy media is just trying to catch up and figure out how to adapt to it.”
SiriusXM reported a 4% decline in revenue and a nearly $3 billion net loss last quarter after it completed a financial maneuver that was aimed at simplifying its publicly traded stock, the company reported on Thursday.
The $2.96 billion quarterly net loss stemmed from a $3.36 billion non-cash impairment charge, a type of accounting expense the means an asset’s value on the company’s balance sheet was written down. When SiriusXM merged with Liberty Media’s tracking stock in September, Liberty Media valued the company’s goodwill based on a sustained lower stock price.
The charge does not impact on SiriusXM’s cash flow. However, lower subscriber revenue and softer-than-projected advertising revenue in the second half of this year caused the company to trim its 2024 revenue goal to $8.675 billion from $8.75 billion targeted earlier in the year.
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SiriusXM’s stock price was down 3.27% at $26.50 as of 11:20 a.m. in New York.
The company reported total third quarter revenue fell 4% to $2.17 billion, and adjusted earnings before interest, taxes, depreciation and assets (EBITDA) fell 7% to $693 million, representing a 32% margin, compared to the year-ago quarter.
Tom Barry, SiriusXM’s chief financial officer, described seeing green shoots from the company’s investments in its subscription business and content, including 14,000 more net self-pay subscribers and a 6% increase in podcast advertising revenue.
“We are focused on executing our long-term strategy of strengthening our subscription business, enhancing our advertising offerings, and optimizing costs as we reinvest in the business,” Barry said in a statement.
The growth in self-pay subscribers due to lower churn reversed the contraction the company saw in the third quarter last year when it lost 96,000 subscribers. SiriusXM’s average revenue per user fell $0.53 to $15.16 due to a “higher proportion of subscribers on self-pay promotional and streaming-only plans,” the company said.
Known for its in-car satellite radio subscriptions, SiriusXM launched a new in-car subscription priced at $9.99 for just SiriusXM’s music channels. The company reported seeing podcast and on-demand listeners increasing on the app it rolled out last year.
The company invests heavily in its content. In the third quarter, SiriusXM signed an exclusive deal with “Call Her Daddy” host Alex Cooper and launched shows with former U.N. Ambassador Nikki Haley, Gen Z political commentator Dylan Douglas, and the beloved former football coaches Jimbo Fisher and Bill Belichick.
Revenue from the company’s Pandora and off-platform business segment slipped 1% to $544 million as Pandora Plus and Pandora Premium’s self-pay subscriber-based declined by 76,000 to 5.9 million. The company said the decline stemmed from fewer trial starts and churn after the price of certain plans was hiked.
The old saying that any publicity is good publicity isn’t always true in the music business. And this year, Sean “Diddy” Combs is proving that listeners and corporations alike have limits.
Near the end of 2023, Combs was enjoying the momentum of the September release of The Love Album: Off the Grid, which spent seven weeks on the Billboard 200 albums chart and peaked at No. 19 on the Sept. 30 chart week. Meanwhile, album single “Another One of Me” by Diddy, French Montana & The Weeknd featuring 21 Savage peaked at No. 87 on the Billboard Hot 100.
However, those numbers would start dropping quickly. In November, the Bad Boy Records founder was the subject of three separate lawsuits by an ex-girlfriend, Cassie, and two other people with various allegations of sexual and physical assault. While his weekly streams and radio plays — composed of various solo recordings under names including Diddy, Puff Daddy and P. Diddy — could be expected to experience some decay as the weeks passed after the album’s launch, the controversies arguably accelerated Combs’ downturn with listeners.
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When Combs stepped down as chairman of digital media company Revolt a week later, his streams fell 22%, while his radio spins fell 36%. Two weeks after that — when brands severed ties with Combs’ e-commerce company, Empower Global, and Hulu scrapped plans for a reality show involving Combs — his radio plays fell another 55%.
That’s not to say that being in the news always hurts an artist’s streaming numbers. After Combs was arrested on Sept. 16 after being indicted for allegedly running a federal sex trafficking and racketeering conspiracy, U.S. on-demand streams of Combs’ music jumped 37% in the week ended Oct. 3. That Combs’ music benefitted from negative publicity isn’t a surprise — heavy media coverage, whether due to a death or a high-profile lawsuit, tends to influence what listeners seek out on streaming platforms. But the post-arrest bump was short-lived. Three weeks after Combs entered the Metropolitan Detention Center in Brooklyn, his streaming numbers had fallen to pre-indictment levels.
Diddy
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Radio is a different story. While many listeners continued to stream Combs’ music, radio programmers, who risk losing advertisers by playing controversial artists, quickly abandoned Combs. In the first quarter of 2023, well before any public signs of impropriety, Combs’ music was getting played on U.S. radio anywhere from 800 to 1,000 times per week. But the March 25 FBI raids on Combs’ homes in Los Angeles and Miami coincided with a 27% drop in weekly radio spins. By the time a video of Combs assaulting Cassie in the hallway of a hotel surfaced at CNN in May, weekly spins of Combs’ songs were down to 352 — 94% below where they were when Cassie filed her lawsuit seven months earlier. By June, his weekly radio plays had dropped below 200.
Radio’s interest in Combs’ music reached a nadir soon after. The week after his arrest on Sept. 16, Combs’ weekly radio spins were down 25%, and radio programmers have largely refrained from playing his music ever since.
Combs’ experience at the hands of music streamers and radio stations echoes that of R&B singer R. Kelly a few years earlier. Long hounded by allegations of sexual abuse, Kelly managed to avoid accountability until the Washington Post ran a story titled “Star Treatment” that detailed how the music industry overlooked his deeds. In the wake of the article, Spotify and other streaming platforms decided in May 2018 to deemphasize Kelly’s tracks in algorithms and editorial playlists, and his average weekly U.S. on-demand streams dropped 10%. Radio programmers had an even bigger impact: Kelly’s weekly U.S. radio plays dropped 29% following the article’s publication.
Kelly’s arrest in February 2019 didn’t lead to an immediate drop in his streaming numbers; throughout 2019, his weekly on-demand streams consistently hovered around 15 million to 16 million. But radio programmers began abandoning him; by the time Kelly was arrested and charged by the state of Illinois in February, his weekly radio plays had already bottomed out at just over 100, down from about 2,000 a year earlier.
Over the next few years, streams of such songs as “I Believe I Can Fly” and “Ignition” would gradually and consistently decline. In 2020, Kelly’s tracks were doing roughly 9 million to 10 million streams per week. The next year, weekly streams fell to roughly 8 million, then 7 million.
Following a guilty verdict in September 2021, Kelly was given a 30-year prison sentence in June 2022. Like with Combs’ September 2024 arrest, media coverage of his sentence resulted in a small, single-digit gain in weekly streams, but the numbers showed a clear damage to his reputation. A week after the verdict, Kelly’s U.S. on-demand streams stood at 8.8 million per week — down 40% since the Washington Post article ran in 2018.
R. Kelly’s music seems to have reached a plateau, however, and interest in his catalog on streaming platforms has remained steady since his sentencing. Over two years later, Kelly’s weekly on-demand streams remain unchanged at roughly 9 million per week, though radio remains disinterested in playing his songs. This suggests that Diddy’s music could perform better online than at radio as his saga plays out.
Cox Media Group Orlando relaunched its WOEX Éxitos 96.5 station as HITS 96.5. The new Spanish AC format will be a hybrid of Spanish and English music featuring pop hits from the ’80s, ’90s and ’00s by artists like Michael Jackson, Ed Sheeran, Adele and Shakira. HITS 96.5 will be hosted by Spanish-speaking radio personalities including Epi Colon, Liliani Hernandez, […]