When I choose a new show to eavesdrop on for a month, I start by reminding myself I’m not the target audience. I have to prepare to listen to the context of the content more than the content itself because let’s face it, I don’t care much about Ryan Saunders getting fired by the Minnesota Timberwolves.
But every so often I stumble on a show in a local market that can attract listeners from anywhere. And KFAN’s The Power Trip does just that. They talk sports on a macro level, if at all. As much as this show serves their local audience in the Twin Cities, it also has the ability to break market lines.
Many sports radio executives preach the “topic tree,” but even when sports is the foundation of a segment for The Power Trip, prepare for unique turns. A conversation about frequent KFAN guest and former Vikings linebacker Chad Greenway can seamlessly, and quickly transition to a detailed breakdown of where to eat your drive thru fast food and who can watch.
It’s not a show that fits the future mold of sports radio as the industry breeds hosts to follow format. The Power Trip prioritizes entertainment over sports, and creativity over construct. It’s not a style that can be taught or even built, this type of chemistry has to be organic.
It’s similar to the chemistry heard from The Junkies on 106.7 The Fan in D.C., but they’ve been friends since grade school! How do you build a mix of talent that can sound cohesive and organic without battling for mic time?
That’s the impossible part for hosts to figure out, but here’s the hardest part for listeners. KFAN’s morning show has so many moving parts, it took me a while as a newcomer to recognize who the guests were and who the core hosts are. One month might not be a long enough time to fully grasp The Power Trip.
Chris Hawkey is the quarterback, with Cory Cove and Paul “Meatsauce” Lambert as the full-time co-hosts. Producers Zach Halverson and Brianne Burdette keep open mics while A.J. Mansour, Mark Parrish, Carly Zucker, John Kriesel and many others are frequent contributors. Every day there’s another personality joining the show, which is not uncommon in sports radio where interviews are prevalent. But guests of The Power Trip are not there for traditional Q&A segments.
There is no room for interviews on this show. Unless it’s a blatant needle mover who can contribute to a unique conversation, squeezing in a 10-minute traditional sports talk Q&A only derails what KFAN’s morning show offers.
When I listen to The Power Trip, I envision myself as part of the show. If it were a sitcom, I would be sitting with them at a roundtable having breakfast every morning. And when regulars like Mark Rosen or Tommy Olson walk in, they’re friends of the group. But if Adam Schefter or Ian Rapoport unexpectedly show up, my first reaction will be ‘who invited this guy, and why wasn’t I asked about it first?’
The Power Trip makes their audience feel like contributors. Other hosts might be exceptionally talented sports talkers, and their listeners might be entertained, but there’s a difference between being made a spectator vs a contributor.
Power Trip listener’s know the hosts and guests, they’re in on the bits and play along with the games. And they did a great job hosting their in-show game shows, Hawkey with In The Box and Cove on Initials. It’s something Howard Stern would respect, after he recently ranted about the need for TV game shows to hire radio people as their hosts. The Power Trip doesn’t hide its love for Stern, and it shows in their ability to build a community.
I don’t want to say sports is a detriment to The Power Trip, but they’re certainly better off having the freedom of an open forum. Unlike most sports radio shows, February is when The Power Trip is at its best. It does pose the question, how important is the sports part of sports radio?
I grew up knowing sports played a minimal role in WFAN’s morning show when Don Imus was at the helm, but that didn’t stop him from anchoring the format’s first radio station. Much of sports radio struggled when leagues were on hold during the pandemic, but it was because of industry limitations, not a reluctance from the audience to hear something different.
I didn’t listen, but The Power Trip must have thrived during the pandemic peak. No need to invent a bracket as a way of digging deep for content, KFAN’s morning show was able to do what they always do, have a conversation and make people laugh. And I got a taste of how they would sound broadcasting from different locations when Cove was stuck in the KFAN building elevator to begin a Friday show.
This was also the second time I’ve listened to a sports radio show where one host was stuck in an elevator at the station. The previous being Joe Benigno on WFAN, who was stuck on his way back from a commercial break cigarette which may or may not be the reason you could later catch traces of smoke in the newsroom when Steve Somers was in the building for his overnight.
I wish they broke down their podcasts more. Deciding whether or not to dive into a 150-minute-long podcast can be daunting. But a 15-minute option is less of an initial commitment and it can be used as a jumping off point for the full show. One benefit to being less sports-focused, it creates more podcastable content. You can listen to an episode of The Power Trip from last week or month and forget the date it was recorded because it’s not sports reactionary. I’ll stare at the 150-minute-long podcast knowing 80% of it is timeless content, but I still need a better roadmap or highlights nudging me to listen.
I enjoyed the show’s literal sound, and the obvious emphasis on selecting their rejoin music is a reason why. Using audio to please a radio audience seems like an elementary tip, but plenty of shows choose cheesy synth that fell out of a ‘90s porno over good bumper music. Audioslave, Rage Against The Machine, anytime you come back from break with a Tom Morello riff it’s a wakeup call, the commercials are over and the tone is set for the incoming segment.
Similarly, kicking off the show by playing a couple of quick stand-up bits takes the role of a hype man. It’s also pretty bold to use successful comedians like Tom Green or Jim Gaffigan as your lead-in, not everyone can follow elite performers each morning.
And for a show that sets out to be funny, a laugh track is necessary. It’s the benefit of having so many people in studio every day. Three hosts, two producers and a cast of characters stopping by, mics are filled with laughter, led by Brianne Burdette to let the listener know you’re never laughing in the car alone.
Covid Is A Convenient Excuse For Lowering Our Standards
“I am sick of hearing lag and noticeably different levels of soundproofing between two hosts on the same show.”
I was probably four hours deep into my all-day football binge on Saturday when I started to think about the overall quality of what I was seeing. This isn’t a column about whether college football is secretly better than the NFL. This is about our industry.
While you may not notice a difference in the presentation on CBS’s top line SEC broadcast or on FOX’s Big Noon Saturday game, it is clear how few resources are being allocated to some of the games further down the networks’ priority list. ESPN doesn’t even send live broadcasters to its Thursday night college football game for instance.
Covid-19 was the beginning of this. It forced every business in the broadcast industry to re-evaluate budgets and figure out how to do games when travel and the traditional set up of broadcast booths simply were not on the table.
This isn’t a problem limited to game coverage either. Plenty of hosts still are not back in their radio studio. Plenty of guests on ESPN’s and FS1’s mid day debate shows are still appearing via Skype and Zoom connections. It is as if we have started counting on our audience not expecting quality any more.
I want to be perfectly clear. I get that this pandemic isn’t over. I get that in many cases, networks and stations are trying to avoid overcrowding studios and in some cases, make accommodations for top-level talent that refuse to get vaccinated. “It’s survival mode,” is the answer from corporate.
Do we still need to be in survival mode though? We are 18 months into this pandemic. The majority of Americans are vaccinated. The ones who aren’t are actively making a choice not to do what they need to in order to put on the best possible show they can.
I am sick of hearing lag and noticeably different levels of soundproofing between two hosts on the same show. I am sick of seeing hosts on crystal clear HD cameras in a high tech studio talk to someone on a dirty webcam that can’t be bothered to even put in headphones so they don’t sound like they are shouting down a hallway.
A good example is the late Highly Questionable. I really liked that show when it was done in studio. I liked a lot of the ESPN talent that popped up on the show even after Dan Le Batard left. I couldn’t watch any more of the show than the two minute clips that would show up on Twitter. I didn’t want to see Bomani Jones behind a giant podcast mic. The low res camera that turned Mina Kimes’s house plant into a green blob gave me a headache. The complete disregard for quality made a decent show hard to watch.
There was a time when the accommodations we made for Covid-19 were totally necessary. Bosses and broadcasters did whatever they had to to get a show or a game on the air. At this point, I am starting to wonder how much of the concessions are necessary and how much are the result of executives that “good enough” is the new standard.
It is totally reasonable to argue that in an age where microphones and editing software are cheap, slick production doesn’t carry the weight it once did. That is true for the podcasters and TikTokers that are creating content in spare bedrooms and home offices. If you’re ESPN or FOX or SirusXM, that slick production is what sells the idea that your content is better than what people can make at home on their own.
It’s soundproof studios, 4K cameras and futuristic graphics packages that make the standard setters in the industry special. Maybe your average Joe Six-Pack can’t put it into words. He just knows that a lot of home-produced content sounds and looks like play time compared to what he sees or hears on a network.
Sure, the anchors are the signature of SportsCenter’s heyday, but it was the stage managers, producers, and other behind-the-scenes staff doing their jobs that really made the show thrive. Those people cost money. The details they took care of may be something 90% of viewers will never notice. They will just know that they are watching a really good show. Those difference makers cannot do their jobs to the best of their abilities if everyone is being piped in from a different FaceTime feed.
In the early days of the Covid-19 pandemic we did whatever we had to. As broadcasters, we made compromises. As an audience, we accepted compromises. We were desperate for familiar entertainment and if Zoom is what it took to get it, that was just fine. There was no cure, no vaccine, things were scary and we were all anxious not knowing how long it would all last.
More than 18 months later, things may not be back to normal, but we are considerably less desperate. There are signs of normalcy in the world. Make the commitment to bring back the standard that won you so many fans in the first place.
If Netflix Wants Live Sports, F1 May Be Just The Beginning
“Netflix will shrewdly need to continue to rethink its strategy because its first-mover advantage and long-time industry leading dominance is no longer guaranteed.”
In the past, Hollywood dealmakers and stockbrokers wondered whether another studio or streamer would catch Netflix. Its dominance stemmed from being a first-mover and not having a serious competitor until Amazon and Disney ten or more years after their launch. However, Netflix would eventually have to compete for content, original and licensed, other platforms that offered less expansive ad-based options, and additional content like live sports or a very popular series or movie premiere.
Arguably, the pandemic accelerated the move to digital and it allowed competitors to gain subscribers because people were spending more time at home. More subscribers and additional streaming options for consumers has not caused Netflix to faulter, but it has caused Netflix to rethink its sports strategy. For years, Netflix was dead set again streaming live sports because of their cost and commercials—Netflix does not have advertisements on its platform currently.
Netflix’s popular Drive to Survive docuseries about the Formula 1 (or “F1”) racing circuit, which was renewed for a fourth season, and the Michael Jordan/Chicago Bulls The Last Dance represents a golden era and renaissance of sports documentaries. As much as fans of feature films and television series enjoy learning about actors during and off camera they similarly want to know about sports stars, their coaches, and franchises. In other words, the business of sports is booming in valuation and behind-the-scenes content.
Recently, Netflix CEO Reed Hastings stated that the popularity of Drive to Survive has caused the company to rethink its stance on purchasing live sports content. The broadcast and streaming rights to Formula 1 will become available via ESPN and Sky Sports in 2022 and 2024. Netflix, will have some competition to secure F1 rights, which will drive up the cost. It was also reported by Front Office Sports that the Netflix CEO would require a level of exclusivity for sports rights that other platforms do not normally require. The exclusivity is likely required because Netflix will want to justify the purchase price and to keep-in-line with what Netflix customers expect—exclusive content on the platform.
With Premier League club Manchester United looking to secure a broadcast deal for selling its rights outside of the traditional league format, it might be the perfect acquisition for Netflix. An exclusive team vs. an entire league would also be less expensive and more targeted. One aspect of uncertainty for all streamers is their subscribers overseas, particularly in untapped China. The international market is far from settled or established. Netflix also has a large operation in India so possibly cricket via the Indian Premier League (“IPL”) could be a rights purchase to consider.
In 2018, the original content on Netflix only accounted for 8%. This means that 92% of the content on the platform just a few years ago was all owned (at least partially) by someone else. That statistic has changed because Disney+, Paramount+, Peacock, HBO Max, Apple+, and many others have since been created and stocked or restocked with content. Controlling interest in Hulu was even purchased from FOX by Disney. Disney and Amazon now both rival Netflix in terms of subscribers. Netflix will shrewdly need to continue to rethink its strategy because its first-mover advantage and long-time industry leading dominance is no longer guaranteed.
As Comcast-owned NBCUniversal CEO Brian Roberts recently said, purchasing sports rights can be difficult. Sports rights are expensive. Exclusive sports rights are even more expensive. Sports rights only become available every five to ten years. Networks and streamers are highly competitive to secure those rights with the hope of landing viewers, subscribers, and advertising dollars.
Will Netflix get into sports rights bidding? In the past, the digital entertainment giant has been steadfast is its non-sports approach. However, the market has changed and is flooded with more competitors now. Netflix has to change to meet its customer and the market needs.
Formula 1 presents an interesting scenario for Netflix as a buyer and partner. F1 is a popular league internationally and growing in the United States. Two new F1 races in Miami, Florida, and Austin, Texas, in addition to season four of the Drive to Survive Netflix series are sure to drive traffic, pun intended, and interest in the racing sport.
Formula 1 is a sports league that will cost less to purchase streaming rights than a traditional American “Big 4” like the NBA, NFL, or MLB. Formula 1’s structure is also centered at the top so it would be easier to make an exclusive deal that Netflix seeks. The remaining questions being, will Netflix pursue Formula 1 sports rights to increase its streaming platform subscribers and compete with others? Second, will Netflix be the first to offer commercial free live sports programming—for a premium price—or offer in-screen ads and additional during-break inside looks, content, and analysis? Or will Netflix act more like a traditional broadcaster and offer advertisements to pay down its purchase price? One will know more after a few laps around the sun.
Manningcast Is Best Experienced As A Fan, Not As A Broadcaster
“I still would’ve watched the game had the alternate not been available, but with the Manning breakdown of each play, I was watching an otherwise meaningless game on the edge of my seat.”
Much has been written on this site already about the ESPN alternative to a traditional Monday Night Football broadcast, the Manningcast. Andy Masur asked if it worked and questioned the network pulling its audience in two different directions. Mark Madden said the concept undoubtedly works, but the content is poor.
Both articles are good reads. Both provide another level of insight from those in the industry and how they view this unique/high-profile concept. Industry views provide solid insight to the success and quality of the show itself, what works – what doesn’t. But if we can’t sit back and take our industry glasses off, and just look at this broadcast as sports fans, I feel we’ll never see it in clear view.
I’ll admit, for me, it took me no more than 5 minutes of watching week 1’s Ravens vs Raiders game to say “yeah, this isn’t meant for me”. I didn’t like the non-traditional approach of the broadcast, it felt like it lacked the energy of a traditional sportscast. The stadium volume was turned way down, the excitement was more in the conversation they were having with each other, rather than the game itself. It took me out of the moment of the game, rather than allowing me to get sucked in.
Now, in fairness, I kind of went into it with a narrow mind, thinking that would be the case. I am not someone who has the desire to flip around during the College Football Playoff broadcasts and catch the coaches corner or studio chatter, I want the game.
Bottom line is, I hated the Manningcast when I watched it in Week 1. I even went on the air the next day and trolled members of my audience that were effusive in their praise of it. In the limited sample I provided for myself, I had come to the conclusion that this broadcast wasn’t made for REAL football fans (insert caveman sound effect here) and that only the most casual viewer would want to watch this SNL wanna be of a football broadcast.
However, week 2, I decided I was going to be more open minded to it. I made it a point to break away from the traditional Packers vs Lions broadcast and watch the Manningcast, no matter how painful. I was completely wrong in my initial opinion.
Was Peyton Manning wearing a helmet and acting a little too zany for my taste in week 1? Yes. Is the guest connection quality well below what we should find acceptable in broadcasting? Yes. But that’s where I made the mistake. I was looking at this broadcast through the eyes of a broadcaster and not as a sports fan.
Peyton Manning’s charisma jumps off the screen, he is elite at describing what he sees on the field in a way that no one else can. Eli can be a little dry, but he’s low key funny. And they have real chemistry together, as they should. They are family after all.
The thing that hooked me the most was just how invested Peyton was in the plays on the field, he really gets into the game, truly invested in the success and failure of the quarterbacks. There was a moment in week 2 when Jared Goff threw the ball to an empty patch of grass 15 yards down the field and was subsequently called for intentional grounding. You could see Goff yelling at the referee, pleading his case. Peyton surmised, probably accurately, that Goff was telling the ref that the ball was thrown to the right place and that its not his fault the receiver didn’t run the correct route. Peyton then carried on and told stories of when this type of thing would happen to him when he played for Indianapolis and Denver. I was hooked.
I realized that I was far more invested in week 1 as a stand alone football game, I’m from Baltimore, I have a lot of love for the Ravens. Being invested in the game itself doesn’t lend as much flexibility. As a fan, you to want to hear about anything else but the action on the field. However, when watching two teams that I have no personal interest in, the Manning broadcast took on this new life. It created a level of interest for me as a REAL football fan that I otherwise would not have had. I still would’ve watched the game had the alternate not been available, but with the Manning breakdown of each play, I was watching an otherwise meaningless game on the edge of my seat. I felt like I had a front row view to a football clinic, held by two of the most accomplished players in league history.
Personally, I could live without the guests. I am not as entertained by the back and forth with Rob Gronksowski or Pat McAfee as it seems the majority of social media is, but the Manningcast does a brilliant job of bridging the gap between the hardcore football fan and the casual observer. It’s an absolute hit and I’ll be locked in for the next one.
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