I’ve turned down that easy yes before. Not because the song was bad. It was just safe in a way that didn’t do anything for the station. I’ve also sat through the follow up calls asking why. That part isn’t fun. But it’s the job.

Barrett Media wrote something a while back that named exactly what I couldn’t quite put into words during those calls. Rigid music testing and focus groups sanitize stations. They strip out the texture that actually builds listener loyalty.

In the article I read, Barrett Media called them chocolate chips. That’s the phrase that stuck with me. The surprise song. The song nobody expected in that slot. The one moment in the hour that breaks the pattern before the listener even realizes they were bored.

You cannot lean on this every week, because I’ve watched programmers take this idea and run it into the ground. If every add is a stretch, your station isn’t distinct anymore, it’s just unpredictable, and unpredictable doesn’t build habit any better than boring does. This works precisely because it’s rare. Listeners can tell the difference between a station that occasionally takes a real swing and one that’s just guessing week to week.

When it lands though, there is nothing safe that touches it. It’s the song somebody texts a friend about. The song that makes a listener say did you hear what they just played, instead of reaching for the next preset on their way to something else.

Play it safe often enough and you get a station that sounds like every other station in the format. Take the right swing at the right moment and you get something people actually notice.

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Here are two areas to be mindful of if you’re wanting to connect deeper with your listener.

1. Especially in the beginning of your radio break, try to use the widest welcome mat possible that attracts the widest audience listening.

 That means that you can’t assume that anyone listening is anything: married, a parent, a Christian, goes to church, or is a fan of your radio station. 

Here’s an example:

 “It’s summertime and your kids are headed off to VBS.” 



That assumes that everyone listening is a parent, has kids, and knows what a VBS is. Recent research showed that 70% of Christian radio listeners don’t have an eighteen-year-old or younger living with them.



How to adjust: “It’s summertime and a kid in your life may be headed to a camp.”



Using a phrase like, “a kid in your life” is relevant to parents, grandparents, babysitters, older siblings, aunts, uncles, teachers, next door neighbors, etc. Also, summer camp is a broader term that includes VBS. 



Being inclusive without sounding exclusive welcomes more people to feel like they’re seen. Every listener wants to feel like I BELONG HERE when listening to your radio show.



2. Listen to almost any Christian Radio station and you’ll hear the DJ handing out spiritual advice. 

Here’ an example:

 “So, the next time you find yourself in that same situation I was in, remember to trust Jesus and worry less.” 



This is so cliche’ (and bad) Christian radio. Stop handing out (maybe unwanted) advice, and start being a good example.



How to adjust: “So, the next time I find myself in that same situation, I’m going to trust Jesus instead of worrying so much.”



In faith breaks, be self-evaluating and self-examining so that you can model honesty and vulnerability. Every listener wants to feel like I’M NOT ALONE when listening to your radio show. They come to you for encouragement, not admonishment.



HERE’S THE TAKEAWAY


The 2 big ideas for Christian Radio shows (I BELONG HERE & I’M NOT ALONE) are powerful ways to attract people to your radio show and connect with them at a deeper level. That builds trust and forms habits, and that’s something streaming music can’t do.

The post 2 Big Ideas for Christian Radio Shows first appeared on CMB.

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More stories! More vision! More reasons why! More reminders that the phones are open, the website is working, and a matching gift is apparently sitting somewhere with a stopwatch.

But what if the true shortage in fundraising isn’t money?

What if it’s attention?

People’s phones are blowing up daily with texts, socials, headlines, ads, emails, podcasts, and refrigerator notifications. (Finally! In 2026, humanity’s long wait for this is over).

Then, 3 times a year, we disrupt the format and ask them to stay tuned and give now.

I understand that urgency in most breaks IS essential.

But urgency and intensity are not the same thing.

Urgency says, “This moment matters.”

Intensity says, “We are convinced you will not hear us unless I show up.”

Intensity is 2 or 3 people on mic for 6 minutes, with few pauses, talking over a music bed and sounding like they are trying to be heard by a friend at a loud club (A club that just happens to need 10 more leadership gifts in the next 2 songs).

Add in a host who maybe views the next 5 minutes as a verdict on their effectiveness as a fundraiser, and you get a recipe that always seems to call for us to do more, More, MORE!

But here is the truth: intensity does not create attention. It divides it.

Every voice, stat, sound effect, and emotional tweak competes for limited cognitive space. We may be making the message harder for people to hear.

Intensity’s answer is always more. But, attention grows when fewer things compete for it. 

Now – a fundraiser SHOULD be joyful, and alive and at times, intense. But constant intensity flattens it all. When every story is “powerful”, every update is big, and every hour is one of the most important, people cannot tell what matters most.

Worse, they may stop believing any of it does.

Urgency needs some contrast.

One voice can carry an idea long enough to land. Genuine emotion does not need someone driving the point home for another 90 seconds. Silence is not dead air if its purpose is to take a few seconds and let the listener breathe.

Brothers and sisters, we are not selling an extended car warranty. We are telling the truth about the work God is doing through people who give and extending the opportunity to join in. That truth carries its own weight.

The Holy Spirit does not require us to try to grab attention by smashing the hype button before He moves someone toward generosity.

Urgency gathers attention around what matters.

Intensity merely proves that everyone in the studio has had coffee, and that was never really in question.

The post What if the Real Scarcity in Fundraising Isn’t Money? first appeared on CMB.

The post What if the Real Scarcity in Fundraising Isn’t Money? appeared first on CMB.

For more than a decade, RAB’s Annual Digital Benchmarking Report, produced by Borrell Associates Inc., has helped radio leaders understand how local advertising is changing and what it takes to stay competitive.

This year’s findings confirm what many broadcasters are already seeing.

In 2025, radio’s digital advertising reached $2.3 billion, accounting for nearly one quarter of total industry revenue. Digital growth offset continued declines in core radio, stabilizing overall revenue for the industry.

Selling digital is no longer an experiment or an add-on. It is an expectation.

As Marketron CEO Jimshade Chaudhari explains, “Broadcasters, advertisers and sales teams now assume digital is part of the conversation. The challenge is no longer demand. It is execution.”

As radio looks ahead to 2026, success will be defined by how well organizations deliver integrated radio and digital campaigns consistently and at scale.

1. Treat Digital as the Core Growth Business, Not an Add-On

The 2026 report makes one thing clear: digital has moved from supplemental to essential.

Since 2022, radio digital revenue has grown at an 8.3% compound annual rate, while core radio has declined at –2.2%. In 2026, Borrell forecasts that 9.5% digital growth will once again offset a 3% decline in core radio, resulting in continued revenue stability for the industry.

That stability, however, is not evenly distributed.

Companies that have made digital a core part of their strategy with clear expectations and disciplined execution are pulling ahead. Among publicly traded radio groups, digital now represents more than 36% of total revenue on average, and significantly more for the strongest performers.

The takeaway is straightforward: growth is no longer tied to market size or ownership scale. It’s driven by execution.

2. Shift Sales Conversations from Products to Measurable Outcomes

Local advertisers are more sophisticated than ever. Nearly half of radio advertisers now employ at least one full-time marketing professional, and the number of “master-level” marketers continues to grow.

These buyers still value branding, but they increasingly expect accountability.

The report shows advertisers allocating more budget to video, streaming and digital channels that offer measurable performance. While radio continues to rank highly for ROI, it’s also perceived as harder to measure, creating both risk and opportunity.

Stations that pair radio with measurable digital extensions such as streaming audio, streaming video and targeted digital campaigns are better positioned to deliver the results advertisers expect.

“Radio and digital perform best together,” Chaudhari notes. “When sellers lead with outcomes, confidence follows.”

3. Make Training a Continuous Discipline, Not a One-Time Initiative

Execution depends on people.

For years, station managers have consistently identified training as the most effective driver of digital revenue growth and 2026 is no exception. Confidence in digital strategy rebounded significantly in 2025, supported by:

• More frequent training
• Clearer expectations to include digital in every pitch
• Improved confidence in sales teams’ digital capabilities

Half of stations now conduct digital sales training at least weekly, and those that do report stronger performance across the board.

Digital success isn’t accidental. It’s built through consistent enablement, reinforcement and leadership alignment that protects seller confidence as digital volume and complexity increase.

4. Improve Conversion Before Chasing New Customers

One of the most persistent gaps in the data remains conversion.

On average, only one in four radio advertisers buy digital products from their station, and digital-only customers represent just 10% of total client bases. That means the largest growth opportunity still sits within existing advertiser relationships.

High-performing stations focus on:

• Mandatory inclusion of digital in proposals
• Clear packaging and pricing
• Reporting that reinforces value and performance

Before investing heavily in net-new acquisition, stations that deepen existing relationships are seeing faster, more sustainable growth without sacrificing margins.

5. Use AI as a Competitive Advantage: Not Just a Productivity Tool

AI adoption accelerated rapidly in 2025. Nearly all stations now use AI in some capacity, particularly for prospecting, communication and sales support.

At the same time, concern is growing. Nearly half of managers who are aware of advertisers using AI for media recommendations believe those recommendations don’t favor radio.

This creates urgency.

Stations that strengthen their digital credibility, measurement story and integrated narrative are better positioned to influence how radio is represented in AI-driven buying decisions. As AI increasingly shapes how advertisers plan, radio must show up as a measurable, scalable and integrated solution.

Turning Stability into Sustainable Growth

The 2026 RAB -Borrell Benchmark shows that radio has reached a turning point. Digital has stabilized the industry. The next challenge is turning that stability into sustainable and profitable growth.

The opportunity is real and increasingly achievable for stations of all sizes. Success will depend on leadership alignment, disciplined execution, continuous training and technology that supports scale without friction.

Radio’s future isn’t radio or digital. It’s radio and digital working together to deliver measurable results, efficiently and reliably, for local advertisers.

Link to Original Post

The post Industry Insight: 5 Next Steps for Radio first appeared on CMB.

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Nationwide listener research measures that by asking audiences to score songs. Artists with more songs earning strong scores rise to the top of the rankings.

Here are the 10 artists with the strongest overall listener scores:

1. Chris Tomlin
2. Casting Crowns
3. MercyMe
4. Lauren Daigle
5. Elevation Worship / Elevation Rhythm
6. Third Day
7. Jeremy Camp
8. Phil Wickham
9. Hillsong Worship
10. Matt Maher

These artists have built deep catalogs of songs that continue to connect with listeners — proving that powerful music and meaningful messages never go out of style.

Coming up in August: From the 2025 Finney Media Why Listen® Survey, new observations on The Top Five Reasons Your Listener Listens.

The post The 10 Artists Christian Radio Listeners Love Most first appeared on CMB.

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Here are a few takeaways you should be thinking about right now:

1. 1. Talent is still the ultimate differentiator. The talent you hire today looks completely different than it did even five years ago. 
   2. Being good on air isn’t enough anymore. Talent MUST think like content creators, not just DJs. This needs to be part of their job description.
   3. AI isn’t the threat. Complacency is. How are we responding to AI driven discovery and content consumption? 
   4. Radio is still a powerful tool for discovery, but it is no longer the center. Listeners are also finding music through social, streaming, and culture.
   5. Content is greater than platform. Hits are built across radio, streaming, social, culture and touring. We have to think in terms of content ecosystems, artist storytelling, and multi-platform amplification. 
   6. The opportunity is greater than what we’ve known. Younger audiences won’t come automatically. We have to intentionally create content that invites them in. 
   7. Great programmers now think in terms of stories, moments, and experiences.
   8. Artist partnerships are more important than ever. The strongest stations help tell the artist’s story, not just play their songs. 
   9. Discovery still matters, but it’s evolving. Radio breaks artists early, but social, streaming and fans now shape traction. 
   10. The opportunity is still massive for radio, but the window is now. Radio is at a crossroads, yet still holds unmatched reach, trust and influence. 

The stations that win will:

• Invest heavily in talent development
• Think beyond the mic 
• Be intentional about audience growth
• Move faster than the industry’s comfort zone
• Recognize that the future won’t be decided by technology, but by talent and content. 

The post 10 Things Every Programmer Should Be Thinking About Right Now first appeared on CMB.

The post 10 Things Every Programmer Should Be Thinking About Right Now appeared first on CMB.

Twenty-five years ago, Christian radio was blessed with a majority of 55+ baby boomer listeners who loved artists like Mark Schultz, Point Of Grace, Avalon, 4 Him, Newsong, Phillips Craig And Dean, Steven Curtis Chapman, Michael W. Smith, and others.

But there was a slow natural shifting happening, and then a few radio stations turned it into an intentional shifting.

A ROADMAP TO CHANGE

These words were delivered at a board meeting by then President/CEO of The River in Ohio, Dan Baughman, and I’ll never forget them. He said, “For us to grow, we need to exchange walkers and wheelchairs for baby strollers and car seats.”

Those were marching orders to do things differently. Some songs and artists still tested well, but they no longer pointed toward the audience we were striving to serve next. So, we gradually phased them out and started championing MercyMe, Third Day, Casting Crowns, Chris Tomlin, Tobymac, Matthew West, and others.

BACK TO THE FUTURE

Fast-forward to 2026 and we’re at this shifting again. This time it’s 55+ GEN X radio listeners who must make room for the musical tastes of younger Millennials and older Gen Zers.

HERE’S THE TAKEAWAY

CCM radio needs courageous leaders to forge a path RIGHT NOW and into the next 25 years. There are songs to stop playing and songs to start playing. The good news is that this can be done gradually.

I have some specific ideas about how to honor artists while becoming more relevant. Feel free to reach out and we can chat about it.

The post The Next Bold Move for Contemporary Christian Radio and Why first appeared on CMB.

The post The Next Bold Move for Contemporary Christian Radio and Why appeared first on CMB.

George, of course, is best known as the producer of the Beatles. But what inspired me most wasn’t just the hits—it was his cliché-proof work ethic. Trained in classical music, he helped four lads from Liverpool reinvent the sound of pop music with unbelievable taste, vision, and quality. Backwards tapes. Mellotrons. Every groove held something revolutionary.

His production saved us twice. First in 1964 from a life of Bobby production—slick and pretty, but not earth-changing. Then in 1967 from Tommy James production—nothing against Tommy, but it wasn’t exactly challenging.

Listen again: the timeless strings on Eleanor Rigby. Backwards vocals on Rain. The sound paintings on I Am the Walrus. The final piano chord on A Day in the Life. The trippy fog of Blue Jay Way.

George—with help from a few other creative guys—changed sound. He took brilliant songs and propelled them higher. No barriers. No clichés. Always fresh. He used the whole universe of sound, not just drums, bass, guitar, and keys. The songs the Beatles wrote? Yeah, those helped. But how those songs hit your speakers—through inventive production and thinking—that’s what changed everything.

Imagine if media production had that same vision.

Most production is done by the book. Can you picture the Beatles working by the book? That piano crash at the end of A Day in the Life would’ve been cut because some record company bozo said it was too weird for Top 40. The same way a modern program director might kill an inventive piece because it “clouds the imaging statement.”

And no—this isn’t some old guy reminiscing. Ask any gifted artist in 2026 about George Martin’s inventiveness, and you’ll find complete reverence. This is timeless. The approach to sound is evergreen.

So here’s the truth: engaging that George Martin gene—the one hiding somewhere in every producer—is what we must do to fulfill sonic potential. Media production can be genius. Clear. Fresh. New. Never-before-heard.

I can’t stress this enough.

Open your minds so we can open the ears of America. Free yourself from everything you’ve ever heard on radio or TV. I’m not kidding. I’m trying to impress the importance of this. If we fail to make the sonic magic our minds are capable of, we blow it. When we do make it? Look out. The trick is making it consistently.

The magic is sonics.

Production. Imaging. Whatever you call it—it’s the magic between the shows and songs. It creates excitement. Enhances a mood. It gives anyone a radically new sound that, like a George Martin production, lifts everything to a higher level.

The trick? Re-invention. (AFDI!)

We don’t want to evolve the production sound. We want to completely re-invent it.

Production must be a trademark. A sound you can hear a mile away and know who it is. Sound that transports listeners—whether to Main Street or Alpha Centauri. That won’t happen unless we re-invent media sound. Don’t underestimate the critical importance of this.

Production is theater.

The tools:

• The Walrus Factor: Go listen to “I Am the Walrus” on headphones. Worth the exercise.
• Sampled instruments: Bagpipes. Harps. Yes—even on rock stations. Exotic sound works.
• Modified sound: Backwards, sped up, etc.
• Song bits (especially out of format)
• Orchestral, new age, and electronic recordings – a goldmine
• Scanners, shortwave radios
• Radio drama: Westerns, detective, sci-fi. Loaded with camp and brilliant sound effects.
• Nature: The power of a thunderstorm recording is magic. On rock, country, anywhere.
• Endings: A Day in the Life was cool. You’re next.
• Morse code: Why not?

Most important: activate your George Martin gene.

Do not get locked into what you think your sound parameters are. Open up. Use the whole world of sound.

Yes, you need a sonic point of view for your station or format. But there’s no reason cartoon soundtracks can’t appear on smooth jazz—okay, that’s a reach, but you never know. Or harps on metal formats. Go tell Metallica or Led Zeppelin you can’t use strings. (They did.)

No barriers. Rewrite the playbook. Think in stereo.

Here’s the hard truth: film and commercials do sound creativity better than radio or TV. Radio and TV have de-evolved. Dumbed down. Cliché. Infected by cheesy production libraries. Dated. Sheep-like inventiveness.

It is our responsibility to bring sonic brilliance back to media.

It starts with thinking beyond. Do not use current radio or TV production as a model. Forget it totally. Lose it. Blow it up. Start from scratch.

The goal is to completely change the sound—not simply evolve or update. Pretend it’s 1921 and radio/TV production has never been done before. OK? Great. Now go.

Ambient. Big. Quirky. Funny. Campy. Intense. Sick. Dreamy.

You’re not a radio producer. You’re a media artist.

Set your creative meter to George Martin mode. Eno mode. Sound-driven filmmaker mode. Think like a music producer, not a media producer.

Voices: Accents. Reality. The age of “the big voice” is dead. Female. Hick. Whispers. Aged (like John Lee Hooker, rest in peace). Real (street people). Stars. Anything but “radio/TV”—the same old voices.

You don’t have production rooms. You have sound labs.

The more background a format or station is, the more you must rely on a heavily repeated audio signature. Sound occurs everywhere. Sonic density.

Your audio signature is your signature.

The important thing is to go there. Where’s “there”? Heck if I know. It’s up to people to re-invent “there.” That’s how revolutionary media is made.

The post The Magic of Sound…Even in FM first appeared on CMB.

The post The Magic of Sound…Even in FM appeared first on CMB.

Nationwide song research provides the answer. Listeners score individual songs, and the groups with the most highly rated songs overall rise to the top.

Coming in at No. 1 is Casting Crowns, a group known for powerful storytelling songs that continue to resonate with listeners.

Right behind them is MercyMe, whose long list of radio favorites still scores strongly in listener testing.

Third place goes to Elevation Worship and Elevation Rhythm, followed by legendary band Third Day.

Rounding out the Top Five is global worship favorite Hillsong Worship.

If you love singing along in the car or at church, chances are these groups are already on your playlist.

Coming up in July:  We take a look at the 10 artists Christian listeners love most.  Any guesses on who holds the top spots?

Want to see the latest research on Top Female and Male Christian artists? Catch up with the other articles from this four-part series on our FINNEY’S FAST FIVE page.

The post The Bands Christian Radio Listeners Love to Turn Up first appeared on CMB.

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