By Holland Cooke
Consultant

Music radio’s competitors were vinyl, then tape, then CDs – before smartphone streaming and satellite radio offered more portability and variety. And before consolidation, broadcasters were under less of the revenue pressure that now commercializes many stations beyond listeners’ tolerance. TALKERS NAB Show coverage included Edison Research founder Larry Rosin lamenting “many, many [music] stations now loading all their spots into two interminable breaks per hour.” I cringe hearing FMs struggle to remain among listeners’ music appliances. And I fret that monologue-heavy talk radio is relinquishing interactive dialogue to social media.

Before moving to all-news, and eventually news/talk, I worked in music formats less-structured than today’s. So now I hear music radio as an outsider, more like a consumer. Which got me wondering: How does my format sound to music consultants? So, I asked several whose work I respect.

Beware the one-joke act

Mike McVay reckons that “listeners want to know a little bit about a lot of things,” a point other colleagues echo. Explaining that “music radio is all about variety,” adult contemporary specialist Gary Berkowitz: “To me, listeners are tired of all this political back and forth. Sure, it has its place, but it’s like if music radio only played five different artists!” Jon Holiday – who customizes station playlists for a variety of formats – asks “are talk listeners getting what they want?” Calling some formats “very artist-heavy,” he thinks stations were right to play so much Taylor Swift in 2024, certainly her year. And 2025 sure is Trump’s, but Holiday calls “banging the same drum all day, every day” the most common flaw he hears on talk radio.

McVay says listeners like “stories that pull on their heart strings. It’s why “NBC Nightly News” ends with a touching story. It’s not fluff. It’s information relief.” He also recommends topics you are likely to overhear at the next table during lunch: “Discretionary Time Information” (binge-worthy shows on Apple+, Max, Netflix). Health. And – lately more than ever – what Mike calls “purse” stories (think: eggs). Been to Costco? On weekends it’s mobbed. Ask any member and they’ll recite a shopping list of Kirkland-brand bargains.

Play the hits

 When Gary Berkowitz – then an accomplished music programmer – took over stately WJR, he “approached it like it was a music station, the only difference was my ‘songs’ were my personalities, news coverage and, at the time, play-by-play of all the major Detroit teams.” He bought a jingle package “to ‘decorate’ the station;” and “got ‘JR involved with everything that was happening in Detroit. All I did was put it all together and present it like my top-40 upbringing taught me.”

I can relate. Before I programmed all-news WTOP, Washington, I had no news experience. I came from a music FM. The WTOP staff I inherited was impressive, and their work was solid, but the station wasn’t “programmed enough.” I was sent there to convert Cume to Average Quarter Hour – the blocking-and-tackling formatics fundamental to music radio. We owned “the Top news…instantly” image, and we said those very words LOTS. But research told us that traffic and weather were “the hits;” and how we presented them moved the needle.

Great talkers are great listeners 

In every transaction, consumers now expect to interact; and “listeners like to hear others’ voices,” Mike McVay observes: “When the audience is comfortable enough to weigh in with an opinion, their own story, or a reaction, you’ve created a ‘friend circle.’” Jon Holiday tells morning shows he works with to “take time going into breaks to be topical and interact with callers.” And engage by texting and social media. And don’t just push-TO listeners. Be quick to REPLY, and you will make them feel special. 

Yet, in three decades coaching talk hosts, the most unwelcome word I say seems to be “callers.” Imitating gifted Rush Limbaugh, many hosts are prone to windy monologue, rather than inviting the busy dialogue that makes a station sound popular (something local advertisers notice). DJs deftly weaving interactivity into music shows often sound more inviting than sermonizing talkers. Holiday remembers El Rushbo as “a master at having fun, particularly in his early days as a syndicated personality.”

Prescription: Local 

Twenty years ago at the TALKERS conference, publisher Michael Harrison’s advice was elegantly simple: “Give them something they can’t get anywhere else.” Especially now, with so many non-local audio competitors. Regardless of format, helpful local information can increase Occasions of Tune-In per week.

Simply doing local news is a start. But does yours enable the listener by telling what an item means to him or her? On any given day, what you’re overhearing at lunch is something big that’s happening somewhere else. Can you explain the local impact? “National news needs to mean something to me, my community, my region or state,” according to McVay.

With weather so erratic in so many places, owning that image is gold. If you’re news/talk, don’t assume that you’re the market’s weather station. If you’re music, don’t assume you can’t be. Noting typical news/talk demographics, Jon Holiday surmises that, “as we get older, we seem to be more interested in weather.”

And as successful music stations have always done, show up! Gary Berkowitz had WJR go all-in on Detroit’s Thanksgiving Day parade, “with our people all over the parade route. It was better than the TV coverage!”

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn