Issuu

April 30, 2018, Issue 599

For Pod’s Sake: Exploring On-Demand

“It’ll soon shake your windows and rattle your walls,” Bob Dylan famously sang. “For the times the times they are a-changin’.” Dylan wasn’t wailing about media technology, but he could’ve been. A variety of audio entertainment options are rattling radio’s windows and walls, podcasting square among them. According to Edison Research, more than a quarter of Americans ages 12+ now listen monthly (73 million), a number that’s increased dramatically since 2013, along with weekly listeners, which top 48 million. Industry revenues, which now hover around $250 million, have outpaced projections in recent years and are expected to double by 2020. There’s a lot of upside, in other words, and one look at Netflix suggests the sky could be the limit. The issue for radio is how to respond. Clear-cut strategies are elusive and suggestions include everything from treating podcasts Chris Peterson as a cure-all to avoiding them altogether. “There’s no playbook,” iHeartRadio SVP/Podcasting Chris Peterson acknowledged during CRS 2018’s “Podcasting: Where The Passion Pays Off” panel in February. “We’re creating something new here.” Recycling Bin: Amplifi Media’s Steve Goldstein, a broadcaster-turned-new media strategist who joined Peterson on the CRS panel, says two important things are happening. “Podcasting is following the arc that’s occurring in television,” he observes, noting the proliferation of on-demand video content. “And the smartphone is becoming the entertainment hub.” One out of four audio minutes today is being consumed via smartphone, he says, and radio needs a Steve Goldstein cohesive strategy for it. Part of that can be podcasts, Goldstein counsels, and the two most sensible plays center on recycled on-air content and/or original content. He says radio should approach the first option cautiously, however. “People want control,” Goldstein argues. “So you have to (continued on page 6)

Garthcoach: Pearl’s Garth Brooks (r) and Gwendolyn’s Trisha Yearwood (l) with KRTY/San Jose’s Nate Deaton and wife Judy at Stagecoach last night (4/29).

Songwriters: Pay ’Em Forward

The House of Representatives passed the Music Modernization Act (H.R. 5447) 415-0 last Wednesday (CAT 4/25), bringing songwriters a step closer to improved compensation when their works are streamed. While the creative community is hopeful a corner is being turned, whatever the new normal becomes, it will likely fall well short of the pre-digital world’s support for creators. If passed by the Senate and approved by the President, MMA will update music copyright laws and changes what can be considered by courts, setting new rates for streaming services to pay writers and publishers. “This updates rules from Bart Herbison 1909 and 1941 to modern rules, which should result in higher royalties,” says NSAI Exec. Dir. Bart Herbison. Publishers and songwriters will also create and govern an agency that licenses mechanical rights to streaming companies.

© 2 0 1 8 Co u n t r y A i rc h e c k ™ — A l l r i g h t s r e s e r v e d . S i g n u p f re e a t w w w. c o u n t r y a i rc h e c k . c o m . S e n d n e w s t o n e w s @ c o u n t r y a i r c h e c k . c o m

April 30, 2018

MY TUNES: MUSIC THAT SHAPED MY LIFE MooTV Pres./Founder Scott Scovill discusses his most influential music: 1. U2’s The Joshua Tree: In 1987 I was flunking out of college. I had just been diagnosed with fear of failure. While waiting tables, a tour bus pulled in. I was blown away to find they were U2’s technical staff. I said, “I’d have thought you’d have to be Bono’s cousin or Scott Scovill something to work with U2.” The cheeky reply was that seven of them were the best in the world at what they did, and the eighth was Adam, Bono’s cousin. This broke the ice and they invited me to their next two shows. On night two I had a paradigm shift. As the lights dropped and the crowd went wild, I decided I was going to get on tour, see the world and make the music happen. I overcame my fear and started applying myself. Thanks to U2 and The Joshua Tree, I discovered a career in music and a life that I’m proud of. 2. Alan Jackson’s “Don’t Rock The Jukebox”: This was Alan’s hit when his management saw a Paula Abdul show I worked on. They brought me to Nashville to direct his shows. Alan and I both thought importing a long-haired rock guy who knew nothing about country was a terrible idea. I quickly grew to admire Alan and I am honored for my part in his career. Moo TV was born from my move to Nashville. I am eternally grateful for this. 3. Garth Brooks’ “The River”: When Garth returned from his 13-year hiatus I went all out to ensure Moo TV was his video vendor. There is no more powerful place in music than at a Garth show, and I was determined to be part of that magic. Shortly after being asked to do the tour, I stood at the back of the floor facing the crowd instead of the show, as “The River” started. It was one of those moments when a song can just be everything. 4. Rush’s Signals: On the night of its release I stayed up late and listened to it from start to finish with my Radio Shack headphones plugged into my GE boom box. Magic. • “Important” music you just don’t get: I once told Alan Jackson releasing “Chattahootchie” as a single would be a huge mistake. C’mon Alan … “Hotter than a Hootchie Cootchie” ... you can’t be serious. Based on that bad advice, I voluntarily revoked my right to share my opinion for the next decade. Even though my decade is up, I’ve learned my lesson in this area.

Page 4

“That’s important because we want to do it instead of having Google or the government in charge,” he adds. The issues around creator compensation are complex and far from solved, but Herbison says if the measure passes it will be “a huge step forward. There’s no single reason we fell into the current situation and there isn’t a single thing that will get us out, but this is big.” When it comes to street level compensation for songwriters, Herbison says, “We’ve probably steadied. The cost was losing somewhere between eight and nine out of every 10 working songwriters, but it is now more stable for the ones who are left.” “There was a time writers could have a nice career, a nice livelihood, without having hits,” Ben Vaughn says Warner/Chappell Nashville Pres. Ben Vaughn. “They were consistently able to pull in a decent amount of album cuts per year. Now album cuts are supplemental income. It’s a singles business.” “It’s no secret streaming has knocked out the CD market, and now the download market, too,” says Patrick Joseph Music Pres. Pat Higdon. “Since we started moving into the singles and streaming environment, it’s left fewer opportunities for income-earning events for your songwriters. It’s harder to develop songwriters, because you just don’t have as many things to sustain you until the big hit comes along.” “The most valuable thing we have is time, because we’re all trying to get from hit to hit,” says Vaughn. “You have to give yourself enough time to get to the hits, or to some Pat Higdon consistency of hits. [Therefore] the writer draws need to be in line, to allow the writer enough time to ride out the variances between hits. And when people do have hits and we’re winning together, we have no problem with bonusing writers or doing things within the deal to reward success. I’m just mainly focused on getting there.” Higdon points to overall revenue decline putting downward pressure on writer deals. “Especially at the smaller publisher level, you really have to believe in somebody [to sign them],” he says. “You have to take a long-term approach, be frugal with what you do, and then you can pick and choose what you think are your best bets. What we’re all hoping is that the streaming numbers get so high that we’re back in the game with more writers.” Vaughn points to other bright spots. “Look at our partners at ASCAP, BMI and SESAC – they’re posting record performance rev-

April 30, 2018

enues,” he says, noting that money is hit driven. “Is there a corner that’s turned if you’re not having hit songs? I don’t see it now. The big takeaway is much more hope in this space. Much more education about the value of the people actually writing the music.” In terms of signing and developing more songwriters, Herbison has seen an uptick. “Songs are on the charts longer and record labels have found other ways to make money with 360 deals,” he says. “That does trickle down to the writer. And the increase in publishing deals also reflects publishers doing more of what record labels used to do. You’re seeing more artist-writer signings rather than the craftsman songwriter.” The hope is for a Senate hearing for the MMA May 15, a floor vote a month later and on to the President’s desk by mid-June. “It is Congress,” Herbison warns, “and they’re getting into midterm elections, but we are cautiously optimistic.” –Wendy Newcomer, Chuck Aly

Chart Chat

Congrats to Jason Aldean, Carson James, Lee Adams, Jim Malito and the Broken Bow promotion team on landing this week’s No. 1 with “You Make It Easy.” The song is the first single from Rearview Town. Writers are Tyler Hubbard, Brian Kelley, Morgan Wallen and Jordan Schmidt. Jason Aldean And congrats to Adrian Michaels and the WEA crew for landing 38 adds on Devin Dawson’s “Asking For A Friend,” topping this week’s board.

News & Notes

Beasley Media Group CEO Caroline Beasley will serve as the keynote speaker for the Florida Association of Broadcasters luncheon June 28 in St. Petersburg. Additionally, she’ll appear in a fireside chat with FAB Pres./CEO Pat Roberts. Change The Conversation’s Tracy Gershon will host a panel celebrating the 20th anniversary of Chicks With Hits at BMI on May 1 at 6pm. The event is free and open to the public. RSVP here. The Second Annual Heal The Music Day will be held Oct. 19 to raise funds and awareness for the Music Health Alliance. Rodney Crowell and Jon Vezner will participate. Nashville Mayor David Briley proclaimed today (4/30) Therapy ARC Day, recognizing the local chapter for its efforts visiting hospitals as well as rehab and assisted living facilities. Steve Wariner was presented a key to the City of McMinnville during a ceremony April 21 at the Park Theater before his concert

Page 6

benefitting the 10th Annual Citizens for Progress (CFP) Scholarship Fundraiser. BMG’s Alabama will perform at Jacksonville State University’s JSU Stadium Sept. 26 to raise money for tornado relief. Joining them are Charlie Daniels Band, Jamey Johnson, Riley Green, Shenandoah and Darren Knight “Southern Momma.” Tickets go on sale tomorrow (5/1) here. Donate here.

For Pod’s Sake: Exploring On-Demand (continued from page 1) be talking about some kind of curation to make that palatable.” In other words, a download of successive morning show bits might not be the best method. That’s not to say repackaging can’t work. “It’s important to defend on-demand versions of the radio show,” iHeartRadio’s Peterson argued at CRS, pointing to the success of sports personality Colin Cowherd’s podcast. “He got 100 million downloads in 2017 of his radio show because the reality is the average listener cannot sit and listen to the full radio show.” Peterson says they can and do listen to the full show via podcast. “Across all of our major personalities, we’re seeing completion rates of 80 and 90% on both our repurposed radio shows and original-content podcasts,” he reported. Many of the personalities Peterson mentions front talk shows, though, which arguably require different considerations than bit-based, music-intensive programs. Original Spin: Goldstein and Peterson agree that the most potential lies with original content. “There are 500,000 podcasts out there already, so nobody needs another one,” Goldstein says. “But that doesn’t mean they don’t want another exceptional podcast on a particular subject.” The keys to compelling, original podcast content, Goldstein contends, are passion and knowledge. “That’s what you see when you look at the top of the podcast charts,” he observes. “It’s all spoken-word talk shows targeting the next generation. Pod Save America is drawing a million-and-a-half people per episode. That should be instructional to radio in that people can now satiate needs beyond Katy Perry and Taylor Swift records.” Going Public: Many of those chart-topping podcasts are products of public radio, which causes some to wonder what they know that commercial radio doesn’t. “It’s about money,” offers Sarah van Mosel, who spent five years helping design the sales strategy for WNYC-AM & FM/New York’s podcasts, which include top performers like On The Media, Sarah van Mosel Radiolab and Freakonomics Radio. “The

April 30, 2018

Page 8 Radio Shack: Reviver’s David Lee Murphy and RCA’s Old Dominion at the Milwaukee stop of the 2018 Trip Around The Sun Tour Saturday (4/28). Pictured are WKTI’s Ryan Wild, OD’s Whit Sellers, Geoff Sprung, Matthew Ramsey, Trevor Rosen and Brad Tursi, WMIL’s Kerry Wolfe, WMAD’s Chelsey Steinhauer and mom Susan, WWQM’s Fletcher Keyes, WMIL’s Quinn, Morris-Higham’s Scot Michaels, WNCY/ Appleton-Green Bay’s Charli McKenzie, WEA’s Shari Roth, Murphy and RCA’s Matt Galvin.

commercial radio guys have been getting buckets of money just because they’re there and that money is earmarked for broadcast. We don’t play in that game, so we’ve had to be scrappy and find other ways to generate revenue.” Public radio has also been creating finely produced, long-form content for a long time, and van Mosel says they’re years ahead of commercial radio in training the audience to find that content online. “Commercial radio isn’t built to make beautiful evergreen content that’s meant live on and on,” she argues. “Their content is very timely and has a different function in people’s lives.” Commercial radio has resource issues to contend with, too. “Think about how tight and efficient you have to be in commercial radio now,” van Mosel adds. “It’s not like you can hire a podcast staff with 10 producers for a million dollars an episode, which by the way is what it costs to produce an episode of Radiolab. It’s no joke.” All this causes van Mosel to question the idea that commercial radio should make a sweeping podcast play, save perhaps iHeartMedia through iHeartRadio. “They own the platform, they own the data,” she explains, noting the advantage that presents in comparison with other broadcasters. “Commercial radio would be much better off looking toward the smart speaker than toward podcasting because that audience is underserved and growing with the same hockey-stick trajectory. They can do really cool things that others can’t, and they already have the bullhorn. I’m not trying to talk anyone out of podcasting, it’s just a much harder slog because they have to fundamentally change the way they think about content and talent.” Passion Pit: There are scores of successful podcasts without million-dollar budgets, of course, and there’s little downside in testing the water, especially at the local and individual level. “If the mission is original content, and that is the Holy Grail, you need to conceptualize what your point of view is and what your differentiation is,” Goldstein advises. “And what resonates in the podcast environment is passion.”

Adds van Mosel, “Don’t do it because you’re trying to build a business yet. Because you can’t fake it. Podcasting is all about authenticity.” From there, she suggests networking with other podcasters who offer similar content, and engaging in cross promotion to grow each other’s audiences. Then, wait. “It really takes time,” she counsels. Know, too, that it’s early in the game and a lot of change is still to come. “I think you’re going to see a consolidation of podcast networks,” van Mosel predicts. “Collections of networks will form things like the Netflix of podcasting and consumers will come to expect a certain level of quality. It could even be that those networks become identifiable on other platforms.” Pandora, for example, has gotten press in recent months for a potential podcast genome project. Google is even eyeing a big podcast play. “We’ve got a whole new world that we’re looking at,” van Mosel says. Core Belief: If any of this sounds ominous for terrestrial radio, a deep breath is probably in order. Even van Mosel, whose career since WNYC has driven her deeper into the podcast space, is bullish on broadcast. “Radio has survived every disruptive period in media,” she argues. “There’s just something about it.” Mosel’s experience on 9/11 while working in Midtown Manhattan for MJI Broadcasting is a compelling example. “I remember it being a little chaotic, and I went outside, looked down Fifth Avenue, and the first tower fell,” she recalls. “All the cars all around me had stopped, all of their doors were open, and all you heard was radio telling people what was going on – giving people information in the moment they needed it. That’s the core of radio. You couldn’t stream anything. No cell phones worked. TV was going for the money shots. The whole city of New York was leaning on radio in that moment. It’s not going anywhere.” Reach Steve Goldstein and learn more about Amplifi Media, which advises on digital content strategy including podcasting and smart speakers, here. Reach Market Enginuity’s Sarah van Mosel here. –Russ Penuell CAC

April 30, 2018

Page 10

SEEK & EMPLOY Available Jobs

Here’s a list of job seekers and open gigs. Not listed? Send info here and we’ll include you in a future update:

Midwest’s KVOX/Fargo has an unspecified on-air opening. Send airchecks and résumés here.

NRG WYTE/Wausau, WI is searching for a PD/morning host. Airchecks and résumés to OM Tony Waitekus here.

Cumulus’ KQFC/Boise is looking for an afternoon host who can also handle afternoon traffic and production for the five-station cluster. Details here.

Riverbend KTHK/Idaho Falls, ID has an opening for an afternoon personality. Airchecks and résumés here.

Consultant Joel Raab has two client stations looking for a PD and an APD/MD in two different Top 100 markets. Send materials here.

Cumulus’ WIOV/Lancaster, PA has an opening in afternoons. Three to five years on-air experience is required. Apply here.

iHeartMedia’s WMZQ/Washington is looking for an MD/evening host. Send materials here.

Scripps’ KVOO/Tulsa has an opening for an APD/on-air personality. Apply here.

iHeartMedia/Tampa is looking for a Sr. Dir./Promotions. Apply here.

Entercom’s WPAW/Greensboro, NC has a newly created opening for a morning co-host. At least three years on-air experience is required. Apply here.

Cumulus’ WIVK/Knoxville is looking for a morning show Exec. Producer. Apply here.

Dick Broadcasting’s WRNS/Greenville-New Bern, NC has an afternoon drive opening. Airchecks and résumés here. KSE Radio Ventures/Denver is searching for an engineer. Apply here. Arista/Nashville is seeking a Regional Mgr./Promotions. Apply here. Binnie/Portland, ME has an opening for an on-air promotions asssistant. The cluster includes Country WTHT. Send airchecks and résumés to OM Stan Bennett here. CMA is seeking applicants for a newly created Strategist/Integrated Marketing & Sales position. See more here; cover letter and résumé here. Buck Owens Productions’ KUZZ AM & FM/Bakersfield is searching for a Sales Assistant in the Radio Sales and Camera Ads departments. Send résumés here. Saga’s WPOR/Portland, ME has an opening for a morning co-host. Airchecks and résumés to PD Crash Poteet here. iHeartMedia’s KNIX/Phoenix has an opening for a PD. Apply here. Dick WRNS/Greenville, NC is looking for a morning host. Send airchecks and résumés here. Cumulus’ WIOV/Lancaster, PA is searching for a morning cohost. Apply here. Vallie Richards Donovan Consulting has an immediate PM drive opening at a legendary east coast Country station. Send airchecks and résumés to “Country Jobs” here. DBC Radio’s WUBB/Savannah, GA has a morning show opening. Send airchecks and résumés to OM Gabe Reynolds here. Entercom’s KMNB/Minneapolis is searching for an OM/PD. Apply here. iHeartMedia has a number of key PD openings including WQIK/Jacksonville and KBEB/Sacramento. Send materials to iHeartCountry format captain Rod Phillips here. Entercom’s WKIS/Miami is searching for an evening host. Apply here. Mid-West’s WRTB/Rockford, IL has newly created on-air opening. Airchecks and résumés to PD Steve Summers here. Beasley’s WQYK/Tampa is looking for a PD. Send materials here. Binnie Media/Maine is searching for a Dir./Traffic and a part-time Sales Assistant in Portland, for its stations which include Country WTHT and WBQQ. Send materials here.

Summit’s WQNU/Louisville is looking for an APD/MD/on-air host. Submit materials here. Scripps’ WKTI/Milwaukee is looking for a morning show host here. CMA is looking for a Market Research Analyst and a Creative Content Project Manager. Send cover letter, résumé and salary requirements to HR Consultant Sarah Pinson here.

Searching •April Rider Former Riser House VP/Promo, Stoney Creek GM, Curb VP/Promotion aprilriderhelm@me.com (615) 714-1749 •Rosey Fitchpatrick Promotion/Marketing industry vet (MCA, Decca, Indie promo, WME) roseyfitch99@gmail.com 615-944-7033 •Tommy & Joe Johnson Former KUBL/Salt Lake City morning co-hosts tommyjohnsonmail@gmail.com •Pam Russell Former UMG/Nashville VP/National Sales Pamwrussell@icloud.com •Shane Collins Former Summit Media/Louisville OM ShaneC1234@gmail.com •Natalie Kilgore Former SouthComm VP/Marketing NatalieKilgore@outlook.com •Ron “Keyes” Stevens Former KEKB/Grand Junction, CO morning host ronstvns@yahoo.com •Jeremy Guenther Former KSSN & KMJX/Little Rock MD, on-air; Capitol SW Regional 501-590-4878 jguenther01@gmail.com • Jeff Roper Former KCYY/San Antonio APD/MD/morning host 210-790-7099 ropershow@gmail.com

April 30, 2018

Page 11

March 2018 PPM Scoreboard Country radio shares were up by 1.6% compared to last month. Of the 86 stations listed, 48 increased, 28 decreased and 11 were flat. The cume leader was Cox’s KKBQ/Houston with 1,328,800. Mt. Wilson’s KKGO/ Los Angeles was second with 1,114,400.

Station/City WKHX/Atlanta WUBL/Atlanta KASE/Austin^ KVET/Austin^ KOKE/Austin WPOC/Baltimore WKLB/Boston WBWL/Boston WCTK/Providence (Boston) WKKT/Charlotte WSOC/Charlotte WEBG/Chicago WUSN/Chicago WNNF/Cincinnati WUBE/Cincinnati^ WYGY/Cincinnati^ WGAR/Cleveland WCOL/Columbus, OH KPLX/Dallas^ KSCS/Dallas^ KWOF/Denver KYGO/Denver WDRQ/Detroit WYCD/Detroit WPAW/Greensboro WTQR/Greensboro WWYZ/Hartford KILT/Houston KKBQ/Houston^ KTHT/Houston^+ WFMS/Indianapolis WUBLWLHK/Indianapolis WGNE/Jacksonville WQIK/Jacksonville KBEQ/Kansas City^ KFKF/Kansas City^ WDAF/Kansas City KCYE/Las Vegas 500 KWNR/Las Vegas KKGO/Los Angeles WGKX/Memphis WLFP/Memphis WKIS/Miami

400

371.8

Mar 6+ Share

Feb Cume

Feb 6+ Share

Rank

3.2 4.5 5.1 5 1.3 6.2 5 2.3 0.9 6.2 6.2 1.7 3 1.7 8.1 1 6.8 12.3 4 4.3 1.3 5 2.8 5.6 5.8 5.1 5.5 4.1 4.9 2 5.9 6.2 5.4 7.9 4.4 5.9 4.7 3.7 4.8 2.5 4.1 2.1 3.4

15 3.4 13 560,800 600,100 7t 4.6 7 594,200 653,400 6 5.3 5t 295,100 326,500 7 5.3 5t 312,900 320,200 20 1 23 116,400 87,800 4 6.4 3 410,700 410,200 7 5 7t 708,000 683,300 17 2.2 16t 432,600 428,400 23 0.9 23t 158,700 144,300 4t 6.8 2t 488,000 517,100 4t 6.8 2t 475,800 506,600 24t 1.5 23t 677,000 724,900 15t 3.9 7 896,600 1,031,100 15 2 15 183,100 168,200 3 8.3 2 424,100 412,400 21 0.8 21 116,600 98,800 4 6.3 4 360,800 337,800 1 13.4 1 447,400 487,100 6 4.4 4 1,125,900 1,099,700 4 4.3 5 906,700 998,200 24 1.3 23 197,200 188,700 4t 5.4 3 451,900 472,700 15 2.8 15 438,800 458,600 5 5.4 6 648,800 683,200 5 6 5 231,100 243,900 7 4.9 6 238,500 229,600 7t 6 6 176,700 176,900 11t 4 10t 995,300 1,059,500 6 6 3 1,088,100 1,328,800 21 2.2 20 470,700 497,300 6t 6.2 6 307,600 332,700 5 6.7 3t 304,000 293,700 5t 4.8 8 216,900 225,800 3 9 1 280,400 293,000 11 4.8 8 308,600 352,700 3 5.6 3t 335,600 360,800 9 4 10t 304,600 305,100 9 3.7 9 212,000 226,100 6 4.9 6 273,900 258,100 15t 2 22 1,146,500 1,114,400 9 3.9 9 147,800 141,000 13 2.2 13 107,100 102,700 12 3.4 10t 528,300 527,000

376.3

Rank

382.0 386.2

392.3

Mar Cume

Legend: A “+” indicates a Classic Country outlet; a “^” designates coowned Country stations in the metro; “t” indicates a tie; and a “*” indicates a station best in that statistic. Ranks are among subscribers.

Station/City

WKMK/Monmouth (Middlesex) 1 WNSH/New York (Middlesex) 2.2 WKTI/Milwaukee 4 WMIL/Milwaukee 5 KEEY/Minneapolis 5.2 KMNB/Minneapolis 3.4 WKDF/Nashville^ 4.7 WSIX/Nashville 5.8 WSM-FM/Nashville^ 6.1 WSIX HD2/Nashville 1.3 WNSH/New York (Nassau) 2.8 WNSH/New York 2 WWKA/Orlando 4 KMLE/Phoenix 4.2 KNIX/Phoenix 5.4 WXTU/Philadelphia 4.3 WDSY/Pittsburgh 4.5 WPGB/Pittsburgh 2.3 KWJJ/Portland 3.9 KUPL/Portland 4.7 WCTK/Providence 7.5 WNCB/Raleigh 3.4 WQDR/Raleigh 8.3 KFRG/Riverside 4.9 KBEB/Sacramento 2.1 KNCI/Sacramento 4.2 KNTY/Sacramento 2.8 KEGA/Salt Lake City 1 KSOP/Salt Lake City ^ 5.3 KUBL/Salt Lake City 5.3 KAJA/San Antonio 6.8 KCYY/San Antonio^ 4.7 KKYX-AM/San Antonio^+ 1.6 KSON/San Diego 5.5 KRTY/San Jose 4.5 KKWF/Seattle 2.9 KNUC/Seattle 1.5 KSD/St. Louis 3.7 WIL/St. Louis 6.3 WFUS/Tampa 4.5 WQYK/Tampa 6 WMZQ/Washington 2.9 WIRK/West Palm Beach 4.9

395.3 391.8

370.3

Feb 6+ Share

Rank

Mar 6+ Share

27 18t 11 8 7t 13t 10 8 6t 17t 14t 18 12 8 3 8 9 13 12 8 4 13t 3 4 17 8t 13 24 6t 6t 2 6 21 3 6t 15 23 11 4t 8t 3 15 5

Rank

Feb Cume

Mar Cume

1.2 25 43,300 50,100 2.8 16 119,900 142,400 4.4 6 231,400 237,600 5.4 6 268,200 306,100 5.3 8 563,700 543,400 3.9 12 489,800 499,500 3.5 11t 283,600 260,600 5.3 8t 306,300 268,400 5.8 6 267,900 285,700 1.1 17t 78,600 61,600 2.1 19t 158,700 172,100 1.9 18t 898,200 1,023,700 4.2 11 248,100 272,000 4.5 7 632,400 648,500 5.3 4 719,600 734,100 4.6 8 650,800 659,600 4.7 8 336,900 338,500 2.4 13 245,300 216,100 3.5 13t 357,300 305,900 3.3 5 302,900 273,600 8.3 3 314,400 326,300 3 14 222,400 209,400 7.5 3 319,000 315,000 5.4 2 378,500 360,300 2.1 16 208,000 203,500 4.4 6t 331,500 348,700 3 13 199,800 217,300 1 22t 121,800 127,500 4.7 8 262,100 237,400 5.6 5 353,100 364,000 6.2 2 529,300 561,800 5.1 4t 653,200 682,000 1.7 21 157,700 144,000 6.1 2 464,100 475,100 4 7 189,800 186,900 3.6 13t 438,000 485,700 1.6 22 297,300 300,000 4.2 10t 430,500 452,500 6.3 2t 556,300 503,500 4.7 7 491,200 535,500 6.4 3 463,400 510,900 2.9 14t 428,100 461,800 4.5 6 179,400 165,000

384.5 382.2 380.8 368.1 369.3 356.9

Format-Wide PPM Ratings

323.9

Aggregate share for Nielsen Audio subscribing stations month to month.

300

April 30, 2018 LW

Artist/Title (Label)

Total Points +/- Points Total Plays +/- Plays Audience +/- Aud Stations ADDS

JASON ALDEAN ✔

24613

1892

9054

679

63.493 4.706

157

KANE BROWN/Heaven (RCA Nashville)

22139

1055

8270

446

56.316 3.694

157

BEBE REXHA f/FGL/Meant To Be (WBR/BMLGR)

19968

-3403

7366

-1266

53.043 -5.94

154

DARIUS RUCKER/For The First Time (Capitol)

18155

985

6836

381

45.258 2.582

157

LUKE COMBS/One Number Away (River House/Columbia) ✔

17278

2337

6530

901

42.314 5.631

157

BRETT ELDREDGE/The Long Way (Atlantic/WMN)

16370

-6411

6053

-2386

43.497 -14.341

157

DIERKS BENTLEY/Woman, Amen (Capitol) ✔

15868

1707

5710

678

40.042 3.477

157

BLAKE SHELTON/I Lived It (Warner Bros./WMN)

15240

1055

5632

406

38.606

157

D. L. MURPHY f/K. CHESNEY/Everything's... (Reviver/Blue Chair)

14722

1567

5448

578

36.221 3.333

155

JORDAN DAVIS/Singles You Up (MCA Nashville)

14695

-2827

5461

-1079

39.471 -4.77

156

HIGH VALLEY/She's With Me (Atlantic/WEA)

13373

-3598

4902

-1519

34.166 -9.298

154

MORGAN WALLEN f/FGL/Up Down (BMLGR/Big Loud)

12570

731

4738

272

31.336 2.299

155

JAKE OWEN/I Was Jack (You Were Diane) (Big Loud)

11926

744

4460

311

30.875 2.339

156

KENNY CHESNEY/Get Along (BlueChair/WarnerBros/WEA) ✔

11046

2020

4061

772

28.791 4.845

157

BRANTLEY GILBERT/The Ones That Like Me (Valory)

10211

-264

3999

-32

23.265 -0.391

155

CHRIS LANE f/T. KELLY/Take Back Home Girl (Big Loud)

9628

422

3400

155

21.323 1.219

141

DAN + SHAY/Tequila (Warner Bros./WAR)

9456

1695

3260

583

21.753 3.729

153

MICHAEL RAY/Get To You (Atlantic/WEA)

9202

289

3387

20.608 0.878

154

MORGAN EVANS/Kiss Somebody (Warner Bros./WEA)

8945

383

3273

143

18.897 1.013

147

KEITH URBAN f/J. MICHAELS Coming Home (Capitol)

8285

1351

3069

538

3.127

155

LINDSAY ELL/Criminal (Stoney Creek)

8047

133

3056

17.406 0.759

149

LADY ANTEBELLUM/Heart Break (Capitol)

7822

521

2914

224

17.343 1.962

151

DYLAN SCOTT/Hooked (Curb)

7514

414

2721

158

15.453 1.163

145

JON PARDI/She Ain't In It (Capitol)

7008

281

2732

105

16.157 0.574

149

CARRIE UNDERWOOD/Cry Pretty (Capitol) ✔

6788

2429

2563

893

15.577 5.221

152

You Make It Easy (Broken Bow)

20.71

2.02

Chart Page 1

April 30, 2018 LW

Artist/Title (Label)

CHASE RICE/Three Chords & The Truth (Broken Bow)

6632

285

2414

152

13.339 0.029

149

JUSTIN MOORE/Kinda Don't Care (Valory)

6387

352

2510

111

13.762 0.454

144

BRETT YOUNG/Mercy (BMLGR)

5896

743

2097

267

1.938

141

LAUREN ALAINA/Doin' Fine (19/Interscope/Mercury)

5619

314

2201

163

10.527 0.133

140

COLE SWINDELL/Break Up In The End (Warner Bros./WMN)

5529

330

2076

156

10.824 1.016

135

CHRIS JANSON/Drunk Girl (Warner Bros./WAR)

5014

458

1870

186

9.28

0.899

139

CARLY PEARCE/Hide The Wine (Big Machine)

4153

325

1623

133

7.14

0.8

139

ASHLEY MCBRYDE/A Little Dive Bar In Dahlonega (Atlantic/WAR)

4089

321

1431

9.399

0.713

107

BROTHERS OSBORNE/Shoot Me Straight (EMI Nashville)

3816

281

1473

122

6.586

0.303

129

THOMAS RHETT/Life Changes (Valory)

3779

1253

1406

513

7.725

2.496

125

LANCO/Born To Love You (Arista)

3001

260

1022

118

4.828

0.676

120

KIP MOORE/Last Shot (MCA)

2973

265

1138

4.704

0.218

117

OLD DOMINION/Hotel Key (RCA)

2883

492

990

214

5.8

0.893

MAREN MORRIS/Rich (Columbia)

2831

298

968

122

5.273

0.545

102

CHRIS YOUNG/Hangin' On (RCA)

2691

325

949

4.88

0.582

Total Points +/- Points Total Plays +/- Plays Audience +/- Aud Stations ADDS

12.92

TRENT HARMON/You Got 'Em All (Big Machine)

2527

933

3.606

0.203

114

JIMMIE ALLEN/Best Shot (Stoney Creek)

2366

203

940

3.612

0.45

104

KELSEA BALLERINI/I Hate Love Songs (Black River)

2319

894

3.817

0.029

100

SUGARLAND f/T. SWIFT/Babe (UMGN/Big Machine)

2170

-1012

709

-475

5.019 -4.118

101

MITCHELL TENPENNY/Drunk Me (Riser House/Columbia)

2024

220

773

3.334

0.515

RUSSELL DICKERSON/Blue Tacoma (Triple Tigers)

1977

188

738

3.533

0.689

101

JERROD NIEMANN/I Got This (Curb)

1737

-75

580

-12

5.323

0.287

LOCASH/Don't Get Better Than That (Reviver)

1642

655

2.591

0.023

DANIELLE BRADBERY/Worth It (BMLGR)

1282

-105

500

-46

2.214

-0.06

MIDLAND/Burn Out (Big Machine)

1212

299

481

2.066

0.542

Re-Enter 49 Debut 50

Chart Page 3

April 30, 2018 Country Aircheck Add Leaders

Activator Top Point Gainers

Adds

1733 ✔

DEVIN DAWSON/Asking For A Friend (Atlantic/WEA)

CARRIE UNDERWOOD/Cry Pretty (Capitol)

SUGARLAND f/T. SWIFT/Babe (UMGN/Big Machine)

D. L. MURPHY f/K. CHESNEY/Everything's... (Blue Chair/Reviver) 1070 ✔

MIRANDA LAMBERT/Keeper Of The Flame (RCA)

KANE BROWN/Heaven (RCA)

THOMAS RHETT/Life Changes (Valory)

KEITH URBAN f/J. MICHAELS/Coming Home (Capitol)

952 ✔

CHRIS STAPLETON/Millionaire (Mercury)

JAKE OWEN/I Was Jack (You Were Diane) (Big Loud)

878 ✔

OLD DOMINION/Hotel Key (RCA)

LUKE COMBS/One Number Away (River House/Columbia)

814

1021 ✔

WALKER HAYES/Craig (Monument/Arista)

KENNY CHESNEY/Get Along (BlueChair/WarnerBros/WEA )

813

KEITH URBAN f/J. MICHAELS/Coming Home (Capitol)

THOMAS RHETT/Life Changes (Valory)

700

KIP MOORE/Last Shot (MCA)

DAN + SHAY/Tequila (Warner Bros./WAR)

687

LANCO/Born To Love You (Arista)

DARIUS RUCKER/For The First Time (Capitol)

590

Country Aircheck Top Point Gainers

Activator Top Spin Gainers

CARRIE UNDERWOOD/Cry Pretty (Capitol)

2429

LUKE COMBS/One Number Away (River House/Columbia)

2337

KENNY CHESNEY/Get Along (Blue Chair/Warner Bros./WEA)

2020

JASON ALDEAN/You Make It Easy (Broken Bow)

1892

DIERKS BENTLEY/Woman, Amen (Capitol)

1707

DAN + SHAY/Tequila (Warner Bros./WAR)

1695

D. L. MURPHY f/K. CHESNEY/Everything’s... (Reviver/Blue Chair)

✔ ✔ ✔ ✔ ✔

CARRIE UNDERWOOD/Cry Pretty (Capitol)

393

D. L. MURPHY f/K. CHESNEY/Everything's... (Blue Chair/Reviver)

226

KANE BROWN/Heaven (RCA)

224

JAKE OWEN/I Was Jack (You Were Diane) (Big Loud)

182

KEITH URBAN f/J. MICHAELS/Coming Home (Capitol)

180

LUKE COMBS/One Number Away (River House/Columbia)

166

1567

THOMAS RHETT/Life Changes (Valory)

161

KEITH URBAN f/J. MICHAELS/Coming Home (Capitol)

1351

DAN + SHAY/Tequila (Warner Bros./WAR)

143

THOMAS RHETT/Life Changes (Valory)

1253

KENNY CHESNEY/Get Along (BlueChair/WarnerBros/WEA )

142

KANE BROWN/Heaven (RCA)

1055

BLAKE SHELTON/I Lived It (Warner Bros./WMN)

108

Country Aircheck Top Spin Gainers

Country Aircheck Top Recurrents

Points

LUKE COMBS/One Number Away (River House/Columbia)

901

LUKE BRYAN/Most People Are Good (Capitol)

18522

CARRIE UNDERWOOD/Cry Pretty (Capitol)

893

DUSTIN LYNCH/Small Town Boy (Broken Bow)

9810

KENNY CHESNEY/Get Along (Blue Chair/Warner Bros./WEA)

772

THOMAS RHETT/Marry Me (Valory)

8842

JASON ALDEAN/You Make It Easy (Broken Bow)

679

SAM HUNT/Body Like A Back Road (MCA)

8426

DIERKS BENTLEY/Woman, Amen (Capitol)

678

CHRIS STAPLETON/Broken Halos (Mercury)

8351

DAN + SHAY/Tequila (Warner Bros./WAR)

583

SCOTTY MCCREERY/Five More Minutes (Triple Tigers)

7377

D. L. MURPHY f/K. CHESNEY/Everything's... (Reviver/Blue Chair)

578

THOMAS RHETT/Unforgettable (Valory)

7095

KEITH URBAN f/J. MICHAELS/Coming Home (Capitol)

538

OLD DOMINION/Written In The Sand (RCA)

7027

THOMAS RHETT/Life Changes (Valory)

513

LUKE COMBS/When It Rains It Pours (River House/Columbia)

6684

KANE BROWN/Heaven (RCA)

446

KANE BROWN f/L. Alaina/What Ifs (RCA)

6282

Chart Page 4

April 30, 2018

COUNTRY AIRCHECK ACTIVITY MITCHELL TENPENNY/Drunk Me (Riser House/Columbia) Moves 48-45* 2024 points, 773 spins 5 adds: KBEB, KHEY, KSCS*, WDRQ*, WSIX RUSSELL DICKERSON/Drunk Me (Triple Tigers) Moves 49-46* 1977 points, 738 spins 5 adds: KATM*, KBEB, WAVW, WCTO*, WKHX* JERROD NIEMANN/I Got This (Curb) Remains at 47 1737 points, 580 spins; No adds LOCASH/Don’t Get Better Than That (Reviver) Moves 50-48* 1642 points, 655 spins 1 add: WGAR DANIELLE BRADBERY/Worth It (BMLGR) Re-enters at 49 1282 points, 500 spins 2 adds: KASE, WSSL

A D D DAT E S May 7

SCOTTY MCCREERY/This Is It (Triple Tigers) GRANGER SMITH/You’re In It (Wheelhouse) JORDAN DAVIS/Take It From Me (MCA)

May 14 ALEXANDRA DEMETREE/Coastin’ (SSM Nashville) MADDIE & TAE/Friends Don’t (Mercury)

May 21

TYLER FARR/Love By The Moon (Columbia) ABI/A Day Without (One Country/Nine North) Send yours to adds@countryaircheck.com

CHECK

MIDLAND/Burn Out (Big Machine) Debuts at 50* 1212 points, 481 spins 3 adds: KHEY, KJUG, KNCI AARON WATSON/Run Wild Horses (Big Label) 1043 points, 423 spins 2 adds: KSKS*, KZSN TYLER RICH/The Difference (Valory) 1013 points, 383 spins 5 adds: KSKS*, WDAF, WEBG, WIRK, WWKA* CRAIG CAMPBELL/See You Try (Red Bow) 959 points, 416 spins 6 adds: KHEY, KWEN*, KYGO, WPOR, WQMX, WXBQ

“Wild One.”

OUT 5/1

Terra Bella There’s A Country Song (—) The husband and wife duo’s Joe Costa recorded the follow-up to 2016’s Road To Forever from their home studio. Costa shares production credit with guitarist Johnny Garcia (Garth Brooks, Trisha Yearwood) and co-wrote all nine tracks, including the singles “Before You” and

May 4

Drake White Pieces (BMLG Records) On his second album, produced by Busbee, White co-penned two tracks (“Happy Place,” “The Best is Yet to Come”) featured alongside three additional cuts, including a cowrite from Old Dominion’s Brad Tursi. “I love writing that’s very simple, but it’s like, ‘Oh, I know exactly what you’re talking about,’ explains White.

Chart Page 5

April 30, 2018 LW

Artist/Title (Label)

JASON ALDEAN

Points

+/- Points

Plays

+/- Plays Stations ADDS

12015

-27

2612

KANE BROWN/Heaven (RCA) ✔

11146

1021

2319

224

LUKE COMBS/One Number Away (River House/Columbia)

9695

814

2094

166

BEBE REXHA f/FGL/Meant To Be (WBR/BMLGR)

9463

-1296

2078

-292

DARIUS RUCKER/For The First Time (Capitol)

9419

590

2021

BLAKE SHELTON/I Lived It (Warner Bros./WMN)

9035

452

1900

108

BRETT ELDREDGE/The Long Way (Atlantic/WMN)

8878

-1187

1887

-269

You Make It Easy (Broken Bow)

3rd Week at No. 1

12 8

D. L. MURPHY f/K. CHESNEY/Everything's Gonna... (Blue Chair/Reviver) ✔

8370

1070

1799

226

11 9

DIERKS BENTLEY/Woman, Amen (Capitol)

7880

384

1652

13 10

MORGAN WALLEN f/FGL/Up Down (BMLGR/Big Loud)

7077

420

1495

14 11

JAKE OWEN/I Was Jack (You Were Diane) (Big Loud) ✔

6920

878

1432

182

JORDAN DAVIS/Singles You Up (MCA)

6686

-3362

1491

-691

16 13

KENNY CHESNEY/Get Along (BlueChair/WarnerBros/WEA )

6025

813

1238

142

15 14

BRANTLEY GILBERT/The Ones That Like Me (Valory)

5928

100

1270

-15

17 15

MORGAN EVANS/Kiss Somebody (Warner Bros./WEA)

5108

346

1038

21 16

KEITH URBAN f/J. MICHAELS/Coming Home (Capitol) ✔

5078

952

1067

180

18 17

LINDSAY ELL/Criminal (Stoney Creek)

4638

263

953

27 18

CARRIE UNDERWOOD/Cry Pretty (Capitol) ✔

4592

1733

978

393

19 19

JON PARDI/She Ain't In It (Capitol)

4321

933

22 20

LADY ANTEBELLUM/Heart Break (Capitol)

4250

362

902

20 21

CHRIS LANE f/T. KELLY/Take Back Home Girl (Big Loud)

4250

113

870

23 22

MICHAEL RAY/Get To You (Atlantic/WEA)

4059

209

834

26 23

DAN + SHAY/Tequila (Warner Bros./WAR)

3721

687

771

143

24 24

JUSTIN MOORE/Kinda Don't Care (Valory)

3520

278

719

25 25

COLE SWINDELL/Break Up In The End (Warner Bros./WMN)

3400

293

685

28 26

DYLAN SCOTT/Hooked (Curb)

3106

489

658

29 27

LAUREN ALAINA/Doin' Fine (19/Interscope/Mercury)

2740

340

607

30 28

CHRIS JANSON/Drunk Girl (Warner Bros./WAR)

2499

169

522

31 29

BRETT YOUNG/Mercy (BMLGR)

2438

326

527

32 30

ASHLEY MCBRYDE/A Little Dive Bar In Dahlonega (Atlantic/WAR)

2305

275

563

Chart Page 6

April 30, 2018 LW

Artist/Title (Label)

Points +/- Points

Plays

+/- Plays

37 31

THOMAS RHETT/Life Changes (Valory)

1911

700

339

161

Stations Adds

34 32

CHASE RICE/Three Chords & The Truth (Broken Bow)

1852

407

411

33 33

BROTHERS OSBORNE/Shoot Me Straight (EMI Nashville)

1852

277

378

38 34

CARLY PEARCE/Hide The Wine (Big Machine)

1416

220

305

36 35

KELSEA BALLERINI/I Hate Love Songs (Black River)

1297

235

35 36

STEPHANIE QUAYLE/Selfish (Rebel Engine)

1286

240

41 37

CHRIS YOUNG/Hangin' On (RCA)

1274

162

223

40 38

AARON WATSON/Run Wild Horses (Big Label)

1219

249

45 39

OLD DOMINION/Hotel Key (RCA)

1171

416

223

42 40

MAREN MORRIS/Rich (Columbia)

1118

108

224

43 41

SUGARLAND f/T. SWIFT/Babe (UMGN/Big Machine)

969

202

44 42

CJ SOLAR/Airplane (Sea Gayle)

849

143

55 43

KIP MOORE/Last Shot (MCA)

779

308

196

53 44

TRENT HARMON/You Got 'Em All (Big Machine)

666

102

156

39 45

DUSTIN LYNCH/I'd Be Jealous Too (Broken Bow)

655

-516

106

-104

48 46

LANCO/Born To Love You (Arista)

644

149

49 47

MIDLAND/Burn Out (Big Machine)

627

53 48

MITCHELL TENPENNY/Drunk Me (Riser House/Columbia)

587

103

173

51 49

DANIELLE BRADBERY/Worth It (BMLGR)

584

47 50

LOCASH/Don't Get Better Than That (Reviver)

580

-34

114

-6

52 51

JIMMIE ALLEN/Best Shot (Stoney Creek)

552

-15

134

50 52

RAELYNN/Queens Don't (Warner Bros./WMN)

520

-80

-8

57 53

TYLER RICH/The Difference (Valory)

490

RUSSELL DICKERSON/Blue Tacoma (Triple Tigers)

479

RYAN HURD/Diamonds Or Twine (RCA)

440

-20

-2

DENNY STRICKLAND/California Dreamin' (Red Star)

414

46 57

CAM/Diane (Arista)

406

-265

-38

59 58

BRETT ELDREDGE/Haven't Met You (Atlantic/WMN)

400

-20

-2

Debut 59

SOUTHERN HALO/Anything Is Possible (Southern Halo)

388

107

Debut 60

LUCAS HOGE/Power Of Garth (Forge Entertainment)

345

Debut 54 56 55

Debut 56

Chart Page 7