Intriguing Stations of 2023

In 2023, I profiled 16 radio stations as part of Ross on Radio’s “First Listen” series. Those profiles, of stations that had either just launched or significantly relaunched, included several CHR stations that had segued to “Heritage CHR,” such as WBBM-FM (B96) Chicago or WKFS (Kiss 107) Cincinnati. There were both First and “Fresh” Listens to relaunched Alternative brands, including Channel X in New Zealand. There was also Spotify DJ, one of the first stories in the AI-at-radio boom last spring.

I’m happy to say that I took 16 Fresh Listens to stations but only four “Final Listens,” although one of those (the loss of heritage Adult CHR WMC [FM100] Memphis) was a particularly discouraging state-of-the-industry touchstone, offset only a little by two rival stations wanting to move into the CHR/Adult CHR space. One of the Final Listens, as it happened, was AMP, Amazon’s year-old experiment in “you be the DJ,” and one of the most heralded examples of tech-side competition to broadcast radio.

In recent weeks, I could have written a Final Listen of KLIF (Hot 93.3) Dallas, which dropped its Throwback CHR format to simulcast N/T WBAP, but I was busy focusing on new launches instead. There hasn’t been a clear winner from the Throwback CHR format yet — in the December ratings, looking at gold-based CHR in five PPM markets, the highest rated such station among them was a 2.3. There are a number of challenges, but they particularly include how many 15-20-year-old songs are being played by Mainstream CHRs that haven’t officially changed. That said, in January, there were two launches of Throwback CHR by Canada’s Harvard Broadcasting, which has done better than most with the format.

The “Intriguing Stations of the Year” column is never meant to be a complete list of success stories, or even stations I enjoyed. The intended focus is on stations that set format trends, or spectacularly defied them. Any sins of omission are never deliberate, but they should be an impetus for you to suggest your own favorite in the comments section. There is definitely some recency bias; two of the biggest stories were covered here in November/December. I’m also happy to say that there are at least two formats that represent outreach to a not-exactly-served-before audience.

WMIA (Magic 93.9) Miami had been through numerous iterations of gold-based AC and Hot AC, including 2020’s reader favorite Totally 93.9.  Two months ago, it found instant traction by presenting a (mostly) English-language Soft Classic Hits format, similar to rival WFEZ (Easy 93.1), with Spanish-language DJs and two Spanish AC titles an hour. In recent days, iHeart has launched the format in Fort Myers, and it seems likely that other launches are forthcoming from multiple owners.

As readers have noted, English-language music and Spanish-language hosts have a long history. It’s a common format outside the U.S. Miami has had other bilingual stations — not just gold-based WCMQ-FM, but also CHR WQBA-FM and WRTO. It’s still an attention-getting move a few years after the success of reggaeton and Urbano led broadcasters to the inverse format: Spanish-language music/English-speaking DJs. And consultant Bob Perry believes that both Spanish- and English-dominant listeners appreciate the station’s position as “the station designed for Latinos in Miami.”

KUCD (Pop 101.9) Honolulu generated enough sparks playing Asian Pop on an FM translator to move to a major frequency this year. It’s in the lower 3-share range, while rival KDDB (Da Bomb) remains one of our healthiest Mainstream CHRs. But it is doing better than any of the major Throwback CHRs or a lot of other Mainstream CHR outlets. It also coincided with Fifty Fifty’s “Cupid” and enough other music to derail the “K-Pop is no longer a trend” discussion last year.

KITS (Live 105) San Francisco is the newest addition to the list of relaunched and/or gold-based Alternative outlets that were a big part of Intriguing 2022, including WNNX (99X) Atlanta. Live 105’s comeback — including ratings shares bigger than the station’s previous heyday — stood out because the station tried to foster current music, at least as much as any of Alternative’s now-gold-based mainstream stations, and because it was a reminder of how much listeners still want to like our radio stations. Live 105 found an alternative radio hole that had not been closed by 20 years of alternatives to radio. And 2024 has begun with the launch of similar stations in Reno and Birmingham.

SiriusXM’s Life with John Mayer; Kelly Clarkson Connection; TuneIn’s The Big 615; Tailgate Radio; Boss Radio 66: In the mid-’90s, I used to chafe at the notion that any of the many random artists-turned-radio-hosts of that era were inherently more fascinating than “just another DJ.” A few of those broadcasters, like the just-retired Danny Bonaduce, developed true radio careers. Many more of those experiments are long forgotten.

In theory, I have the same feelings about the celebrity playlist channels that have become a calling card for almost any radio beyond the FM dial, whether SiriusXM, Apple, or now TuneIn. I want to make sure broadcasters and broadcast radio get their due, especially when stations like Tailgate or Boss Radio 66 have roots in FM radio. I’m in favor of radio developing its own celebrity showrunners — giving Shonda Rhimes credit for Gray’s Anatomy, not just Patrick Dempsey. 

That said, I have to admit that I’m still enjoying SXM’s Little Steven’s Underground Garage and Tom Petty Channel many years after their launch. Its John Mayer channel in particular got fast traction in this household, and more easily claimed the “changing-with-your-mood” franchise that Spotify was also aiming for. (It would have been particularly discouraging if new operators had somehow managed to “invent” dayparting.) And I appreciate the bigness that Kix Brooks adds to the Big 615’s mission to be the world’s Country station. 

WCFB (Star 94.5) Orlando; WTBV (101.5 the Vibe) Tampa: Star has made its way to record ratings in Orlando, a market where R&B radio has to prove itself over-and-over, despite a 35-year track record. The Vibe has launched quickly despite the presence of both Rhythmic and Hip-Hop stations. Star has also managed to find the spot between Adult and Mainstream R&B radio that once seemed antiquated but now makes stations like WBLK Buffalo and KPRS Kansas City the format’s most solid success stories.

Podcast Radio US: It’s been surprising that more stations haven’t tried to integrate broadcast radio and podcast content. The UK’s original Podcast Radio has been the most fully-realized, enduring effort to date. Expect more about the U.S. version, launched in four markets last fall, in coming months. One initial comment though, as with the UK version, is that I haven’t come across much that didn’t hold my interest yet, and particularly appreciate that there’s a strong music component.

Greatest Hits UK; Boom Light: Bauer’s network finally gave Classic Hits a clear footprint on FM this year, owing both to the hiring of Ken Bruce and expanding to more markets. Bruce’s success also led to the launch of Ken Bruce’s Secret ’60s channel, making Bauer one of the few owners that could credibly try and push premium/subscription radio. Boom Radio, the DAB-driven service that is the equivalent of our KDRI (The Drive) Tucson, Ariz., and another bastion of personality radio, launched a pre-rock MOR channel, and is expanding again next month with the pending launch of Boom Rock.

KMVQ (99.7 Now) San Francisco; WKQI (Channel 95.5) Detroit: They were two of the biggest success stories for a CHR format marked by months of stations experiencing record lows. I’ve written a lot about the still successful smaller-market stations with a pop/rock/Hot AC lean, so it was encouraging that two stations could win with the rhythmic-leaning pop that most of the format was playing, and perhaps significant that Detroit and San Francisco are two markets with a strong R&B heritage. When I did want to hear a pop-leaning CHR this year, two that I gravitated to were:

• WKRQ (Q102) Cincinnati — nominally an Adult CHR, but increasingly uncategorizable and still buoyed through the format’s travails by full-service personality;
• Evropa 2 Prague was a station I discovered at Radio Days Europe 2023. I can enjoy a morning hearing a different-enough mix of music on any CHR outside North America, but like Q102, it was a good indicator of what rhythmic pop and pop/rock still sound like in the mix together.

Other stations I found intriguing this year:

• KKWF (The Wolf) Seattle: When rival KNUC became Triple-A KPNW, a bold decision in itself, The Wolf suddenly posted shares that were higher than the two stations’ previous combined numbers. I wonder a lot about the state of big-city Country radio now, but as it turned out, all KKWF needed was to be the lone Wolf now.
• WAXQ (Q104.3) New York is finishing a great year that included going up in December, despite the holiday music juggernaut. It’s also one of the stations that showed Classic Rock’s strength, particularly as Classic Hits stations try to push further into the ’90s and beyond.
• KBFF (Live 95.5) Portland, Ore., made a few appearances here this year because of its experiments in AI hosting, but it’s also one of the CHR stations that has tried most often to incorporate the new viral hits that challenge the format.
• WHBC-FM (Mix 94.1) Canton, Ohio – At a time when enthusiasm seems to be lacking as much as resources in today’s radio, I appreciate the effort and music enterprise that PD Java Joel Murphy has brought to Mix. (This fall, they were the pop station that acknowledged “Now and Then” by the Beatles, for instance.)
• WWRM (Magic 94.9) Tampa – In recent years, the travails of CHR have had the effect of making many Adult Contemporary stations less contemporary. So it’s been interesting to hear B98.5 and Cox sister WSB (B98.5) Atlanta pushing in the other direction.
• KICR (K102) Spokane, Wash. –  A reader suggestion, K102 is 95% Classic Country but the new component comes from the new streaming-driven acts (Zach Bryan, Tyler Childers, etc.).

In a really good year for “Intriguing Stations,” I’ve usually ended up publishing a follow-up column based on your feedback, as well as acknowledging more international entrants and stations from beyond the broadcast band. So please leave a comment with your feedback or suggested additions. And getting an early start on the Intriguing Stations of 2024 is even better.