In November, the radio giant iHeartMedia executed a wave of layoffs affecting hundreds of employees across its extensive network of 860 stations. CEO Bob Pittman addressed these cuts during a third-quarter earnings call, framing them as a necessary aspect of the industry’s evolution. While the company reported a revenue increase of over $1 billion — a notable 5.3% rise compared to the same period in 2023 — it also faced a significant expansion of its net loss from nearly $9 million to $41.3 million during the same timeframe, illustrating the financial struggles beneath this growth.

Pittman explained to investors that technological advancements now enable the company to deploy talent from any location to broadcast in various markets. He cited popular syndicated hosts like Ryan Seacrest, Charlamagne tha God, and Bobby Bones as examples. He acknowledged that not every talent fits every market, emphasizing the need for careful selection in a highly competitive environment.

Despite these corporate justifications, the reality is daunting for veteran radio professionals who have been laid off. Following his dismissal as a senior VP of programming in Tulsa and Oklahoma City, Don Cristi reflected on his career path, stating, “I started my career at Wendy’s when I was 16. I hope I don’t have to end it there,” illustrating the emotional toll of such unexpected job losses.

Throughout the summer, numerous local morning-show personalities experienced abrupt layoffs, including popular hosts from WKTU-FM New York’s Carolina With Greg T., KZZU-FM Spokane, Wash.’s Dave, Ken and Molly, and CKCE-FM Calgary, Alberta’s Mornings with Bo and Jess. Many of these beloved local figures had dedicated years to their stations, and the sudden nature of these cuts left them and their audiences in shock.

Many seasoned DJs expressed their frustrations publicly. After being let go in Calgary, co-host Bobby May took to Instagram, stating, “Radio is in terrible shape with the current CEOs and shareholders at hand nationwide and I HATE to see my coworkers go down with it. … Talents have unfortunately become just a number on a piece of paper.” His poignant words resonated with a community grappling with the impact of these layoffs.

On a positive note, the EMPIRE label recognized early on that the Nigerian-American artist Shaboozey had the potential to succeed across multiple genres. His track “A Bar Song (Tipsy),” which cleverly interpolates J-Kwon’s classic 2004 hip-hop hit “Tipsy,” was strategically targeted at country radio. Ghazi, the label’s CEO, had ambitious plans to release the track to several radio formats simultaneously, stating, “For a record like that, it’s a no-brainer,” highlighting a forward-thinking approach to music promotion.

The implementation of this multi-format strategy yielded impressive results. Collaborating with an indie promotional company, Magnolia Music, the label successfully integrated the song into country playlists before transitioning it to Top 40. As “A Bar Song” gained traction on Shazam, it also found its way onto Hot AC and regional rhythmic stations, with positive feedback from programmers like Chris Harris from Columbus, Ohio, who noted a “great response” to its airplay.

Unlike many contemporary hits that typically gain momentum through streaming or sync licensing, “A Bar Song (Tipsy)” achieved its success through traditional radio airplay. This culminated in the track tying the record for the longest duration at No. 1 on the Hot 100, matching the achievement of another groundbreaking country song by an African-American artist, Lil Nas X’s “Old Town Road.”

Not long ago, radio promotion teams at labels were known for their lavish spending and high-profile partnerships with pop stars, traveling extensively to persuade radio programmers to add their singles to the coveted heavy rotation. While some of these practices persist, the recent decline of the broadcast industry has led to significant reductions in promotion staff across major labels. Skip Bishop, a former promotions executive at Sony, noted, “It’s just an evolution,” highlighting the need for a leaner approach in the current market.

As leading labels such as Atlantic and Republic streamline their operations, focusing on streaming and emerging technologies, radio promotion teams have felt the brunt of these cuts. Ron Poore, who lost his position at Atlantic, lamented, “Five years ago, 10 years ago, it’s radio, radio, radio,” underscoring the shift in priorities within the industry as radio has become a secondary focus for many labels.

For Audacy, the No. 2 broadcaster in the U.S. with 230 stations, bankruptcy emerged as a critical lifeline. The restructuring deal in January enabled the company to collaborate with debtholders, reducing its debt from $1.9 billion to approximately $350 million, a staggering 80% decrease. This debt reduction was primarily a consequence of the company’s previous merger with CBS Radio in 2017, which had significantly expanded its revenue alongside its financial obligations.

By September, the FCC approved Audacy’s restructuring plan, allowing it to emerge from Chapter 11 bankruptcy. CEO David Field expressed optimism, stating that this process would enable the broadcaster to grow more efficiently in the future. Initially, the company claimed that the bankruptcy proceedings would not disrupt operations. However, just three months later, Audacy announced a workforce reduction of “less than 2%,” resulting in layoffs across various markets, raising concerns among remaining staff about the sustainability of their roles within the company.

An anonymous employee expressed frustration, asking, “How many layoffs can they go through before there’s nobody left?” highlighting the growing unease among the workforce as the company navigates its financial recovery.

For two consecutive summers, the Billboard Songs of the Summer chart showcased a powerful country music presence, featuring Morgan Wallen’s “Last Night” and Luke Combs’ “Fast Car” in 2023, followed by Shaboozey’s “A Bar Song (Tipsy)” and Wallen’s “I Had Some Help,” a collaboration with Post Malone, in 2024. This represents a significant achievement, considering the last country song to top this chart was John Denver’s “Annie’s Song” back in 1974.

This trend indicates that radio continues to possess the power to launch major hits, particularly in the realm of country music, which has gained immense popularity and quality in recent years. Steve Stewart, the director of country content for Cox Media Group, expressed his satisfaction in September, stating, “It feels good to know there’s this much quality coming out of Nashville,” underscoring the talent and creativity flourishing in the country music scene today.

Transitioning from Top 40 to country radio is no easy feat, yet Post Malone accomplished this challenge with his album F-1 Trillion, released in August. Unlike many pop stars, he recognized the importance of establishing relationships within the Nashville community. By immersing himself in the local scene, he built connections with industry programmers, performed at clubs, and collaborated with local songwriters over the years.

When it came time to enlist collaborators for his album, he reached out to prominent country artists including Blake Shelton, Morgan Wallen, Dolly Parton, and Luke Combs, all of whom were eager to support him. Patch Culbertson, executive VP/GM of Big Loud, a Nashville-based indie label that partnered with Post’s major label, Republic, noted that Post’s willingness to engage with the creative community was crucial to the success of this project, highlighting the importance of collaboration in today’s music industry.

The satellite radio landscape did not fare well this year, as SiriusXM announced a 3% reduction in its workforce in February, following an earlier 8% cut that had occurred 11 months prior. This latest round of layoffs affected 170 employees out of a total of 5,680. CEO Jennifer Witz attempted to frame the situation positively in a staff memo, emphasizing that the company is only beginning to explore its potential.

Despite launching a free, ad-supported subscription service in August to compete with traditional AM-FM radio and streaming platforms, the service lost 445,000 paid subscribers in the first quarter and an additional 173,000 in the second quarter, further complicating the company’s efforts to stabilize. Additionally, a New York judge ruled in November against the company’s practice of making subscribers endure long wait times when attempting to cancel their subscriptions, adding to the challenges SiriusXM faces.

Looking ahead, the future of SiriusXM remains uncertain. The contract for the company’s flagship star, 70-year-old Howard Stern, is set to expire at the end of 2025. Questions linger about whether he will renew or if new content deals involving popular podcasts like SmartLess and Call Your Daddy will fill the void. Recently, the company has begun to pivot its strategy, focusing more on car subscribers rather than its streaming app.

The prospect of radio royalties remains uncertain, despite ongoing efforts led by Randy Travis and the introduction of a congressional bill known as the American Music Fairness Act. If passed, this legislation would establish a performance right, ensuring that artists receive royalty payments when their songs are played on traditional radio stations. This change would significantly benefit artists who cover other writers’ compositions.

For Travis, who has faced health challenges since a stroke in 2013, the potential for additional royalties is crucial for funding his long-term healthcare needs. His wife, Mary Travis, emphasized the importance of the proposed legislation, stating, “This piece of legislation is essential to correct a 100-year-old issue,” during a June hearing highlighting the urgent need for reform in radio royalty structures.

However, the broadcast industry has consistently opposed such legislative efforts, leveraging its lobbying power derived from relationships with influential local congresspeople. Historical attempts, such as Frank Sinatra’s push in the 1980s, have failed, and the outlook appears grim under a Republican-led Congress in the upcoming session, which raises doubts about the bill’s chances of passing.

The year in radio concluded on a disheartening note as Stephen King, the renowned horror author, announced the closure of his chain of radio stations in Bangor, Maine, citing sustained financial losses that made continued operation untenable. In a statement from his company, Zone Corporation, it was revealed that the stations had been unprofitable since King acquired them in the early 1980s, prompting his decision to restructure his business affairs for better management.

While the release did not specify the number of employees affected by the closures, which included WZON (“Retro Radio”), WKIT (“Stephen King’s Rock Station”), and WZLO (“Maine’s Adult Alternative”), it is evident that this development signals a troubling reality for the radio industry, where financial viability continues to be a significant concern.