Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. For future guest consideration, email me at keithblackboxgroup@gmail.com.
Today we check in with a man who should have a country music museum named after him, RJ Curtis. Few people have a more impressive resume of leadership. RJ has helped shape country radio for decades. He has programmed big brands, worked inside labels, served as the format’s written voice in trades, and even sat on key industry boards. If you’re attending CRS this week, say hi to RJ and thank him for such a great event. He is the Executive Director.
So, let’s dive in.
CRS Prediction
Keith: CRS officially starts tomorrow but everyone begins connecting in person today. What’s the one topic you hope dominates hallways this week that moves the format and industry forward?
RJ: First, let me say thanks to you and Barrett Media for featuring CRS ’26 this week.
I don’t know if it’s possible for one topic to be the sole takeaway from a four-day seminar that has such a robust agenda like CRS, and I admit to being biased about that. Based on what I’ve seen observing panel prep sessions with moderators and speakers in recent weeks, I’m encouraged by two things.
First, we’re presenting a unique research project each day and I’m confident these will trigger conversation, interpretation, and calls to action at every segment of our industry. The CMA will share fascinating data on consumption behavior, music preferences and long-term potential with teens – not just for country music, but all genres. I’m so glad CMA has studied teens in this way, and I’ve wanted CRS to look at this demo for years, because today’s teen will be tomorrow’s adult and affinity is built early, because listening to music is a top priority for teens and dominates their activities – more than social media.
Country music and radio listening are not a lost cause with this demo and I see opportunities. We’ll also present our annual perceptual study – CRS has a 30-year history of commissioning these projects. We’re looking at radio usage of course, and the deep, meaningful impact personalities can have on listener loyalty. But we also wanted to see where streaming fits into the consumption landscape and it’s obviously huge, but not mutually exclusive with radio. I’ve talked to some programmers who don’t believe that. They should come to this presentation. Finally, as we have for the past three years, we’re sharing a national online music test conducted by Nuvoodoo. A lot of stations don’t have resources for reliable music research, so we think this is a valuable resource.
Second, as I’ve watched our three Cycle of A Song panels come together – where we follow an universally impactful song from the past year grow essentially from farm to table – the peripheral takeaway for me has been how much collaboration from disparate parts of our business is required to achieve that success and more importantly, how every player in that chain understands – and respects -the absolute necessity of each other. The streaming partners understand radio’s role and vice versa. Management, marketing, promotion and the touring players will demonstrate that nobody gets this done in a vacuum. It is very emblematic of why CRS was created in the first place. Our mantra, “Growth through Sharing” remains true 57 years after the first CRS. This makes me very happy.
Country and Radio Support
Keith: Country radio has long felt more unified than other formats, and the artists outwardly support radio. Why is it that country artists remain so publicly supportive of radio when artists in other genres often don’t?
RJ: I think it’s because country fans aren’t just fans of the music. It’s not a utility or a commodity, it’s a lifestyle. The songs still tell stories about experiences, relationships, and hardships. The best country songs strike a nerve that sets off memories and emotions. So, fans feel they know these artists – or want to know them as friends. Radio is the original street team for country artists and music. The connective tissue between the artist and fans.
A great radio station doesn’t just play an artist; they cultivate a relationship with them – champion them and build careers. When artists see that loyalty, they pay it back. Again, back to my bias about this genre – sorry not sorry – but we are unique. For some artists, this quality is just inside of them and for those who don’t get it at first, this is why labels invest in media training.
Gold and New
Keith: What matters more for country radio — breaking new artists or protecting established ones?
RJ: Equally important, in my opinion. This is my 46th year in country music, which I can’t even believe I’m saying – or admitting – right now. And some things have always been true. In any given cycle there’s five to seven” superstar” acts dominating airplay, touring and sales. Now streaming is in that mix. Let’s see, off the top of my head right now I can count Luke Combs, Lainey Wilson, Morgan Wallen, Jelly Roll, Chris Stapleton, Jason Aldean, Post Malone -and gaining really fast, Ella Langley, with Megan Moroney in the mix, too. Hmm… that’s nine. And these five to seven groups have turned over many times over the years.
In 2013, among the top artists were Carrie Underwood, Luke Bryan, Miranda Lambert, Rascal Flatts, George Strait, and Kenny Chesney. So, we’ve done a solid job of consistently developing new stars. But we’re a balanced format too. Our fans are primarily adults and they like familiarity. That’s why the big songs from these big artists have staying power. Country programmers often use these criteria for adding songs: Is this something I’ll be playing a year or two from now? I think country programmers have done a really good job with that balance over the years.
Artist Development & Radio
Keith: When you programmed country radio in Los Angeles and Phoenix, radio was one of the most critical tools for artist development. What role does radio realistically play today when it comes to artist development?
RJ: Country radio is the greatest finisher out there. Nobody can land the plane better and achieve critical mass for an artist and song better than country radio. When you get the entire reporting panel and everybody else spinning a song in heavy rotation it becomes ubiquitous. That success creates great potential for successful touring, sales, merch, TV appearances, placement in TV shows and so many other business development opportunities. Radio isn’t perfect. It has its challenges and gets shit on a lot. But it has a lot of superpowers, too. If it weren’t around and part of the plan, things would be a hell of a lot harder for this genre.
Do We Need Another Country Chart
Keith: Country is so big. When it comes to radio charts or even formats, we have Top 40 and Rhythmic, Hot AC and AC, Alternative and Rock, Classic Rock and Classic Hits, Hip-Hop and Urban. With Country being so sonically diverse, should there be more than one “country” chart for radio?
RJ: I’ve heard this argument many times over the years. It’s not a loud conversation by the way. It has felt more like a low murmur or rumble. I’m no chart savant, so I’m probably way out of school on this but because I think country is a such unique format that services so many generations of fans so well, I think splintering country would have unintended consequences that would dilute the format and mute some of its impact and influence. I think the fact that we have a chart measuring airplay and another that considers consumption with airplay and sales means we’re getting an honest look at how different songs perform with different metrics. I may be oversimplifying that, but I don’t think we’re ready for sub genres at country right now.
Streaming at Country
Keith: Streaming has clearly changed how labels operate, and programmers in formats like CHR and Hip-Hop closely track streaming data. How much has streaming changed the way country programmers make decisions?
RJ: Based on some of the conversations I’ve listened to in panel prep for CRS ’26, I think it’s becoming a bigger, more influential part of the dashboard for PDs. I referenced the CRS perceptual study and our look at streaming numbers with our fans. Based on that, I think we’d be shortchanging ourselves if we continued to ignore it or think that data is some kind of voodoo. Information is power. It’s not the end all, be all or a silver bullet for radio PDs but it seems to be helping PDs recognize a story or movement with a song earlier or at least puts it on their radar.
Country & Rock
Keith: Country and Rock have always flirted with each other, but it seems more like a marriage is underway. There are touring collabs with country and hard rock artists, artists covering rock songs, etc.. Is this rock country blending more of a modern and temporary moment or do you see it growing further?
RJ: This format has always ebbed and flowed with music cycles, but I always feel like it finds its way back to its core eventually. That said, there’s so much music available now from so many platforms. We can listen to anything, from any genre, any time, or at the same time. Nothing is mutually exclusive anymore. Adult rock listeners probably were exposed to some country music at some point in their music intensive mid-late teen years or have recently been exposed to country because of country’s expanding sonic borders.
Based on my experience, I think adult country fans – which is to say, core country fans – have always liked some rock texture in their mix. I can remember years ago when many country acts included a rock cover in their set and the crowd went wild. The many collabs at country are driving this trend obviously, and personally, I think it’s cool. It helps broaden our listener base. And because I have an endless capacity for shameless plugs, the CRS research project asked a series of questions specifically about collabs and the results are quite interesting.
Taylor Swift and Nickelback
Keith: Nickelback reached massive crossover success, yet rock radio moves on. Taylor Swift goes from teenage country artist to being a global pop superstar, yet Country radio still embraces her as one of their own. What explains the difference in mindset?
RJ: Country radio is the house that built her. She was great to radio and radio was great to her and great for her. When she released 1989 and openly proclaimed it as a pop record, I don’t remember the country community of radio feeling jilted or betrayed. I felt like they were proud that an artist they championed was achieving success on a major scale. She stayed connected to this community in many ways. She’s a genuine person and artist and that always resonates with country radio. I may be crazy, but I think she still has a true country album in her. Maybe “Folklore” and “Evermore” are as close as we’re going to get to that but she’s an amazing songwriter who can pivot to any style she’s interested in.
The Risk Factor
Keith: On a 1-10 scale — where 1 means “country radio plays it far too safe” and 10 means “too much programming risk is being taken” — where would you rate the format, and why?
RJ: I’m gonna chicken out and go right down the middle with a 5. I wish programmers and groups would take a lot more risks with talent and well, everything, but I give everyone working in radio a lot of grace. This is not a glamorous business anymore. It’s survival of the fittest in a game of attrition.
I know a lot of programmers who are creative, aggressive and basically mad scientists at their very core, in a good way. They don’t have the time or resources to realize their wildest dreams. Talent that does a live show and tracks several others, PDs who oversee multiple stations in a cluster and even in different markets. There’s not enough hours in the day to keep their head above water and no chance at a reasonable work/life balance that cultivates inspiration. I hate what our business has done to them. We eat our own and yet, they remain passionate about our music, artists and their communities. They are mission driven. These people are my heroes and some of the greatest people I’ve ever met.
Is CRS the Thing Now?
Keith: CRS has evolved beyond being a traditional format seminar. It has become more of an industry gathering from people across radio and records. What does CRS offer that other industry gatherings don’t?
RJ: Community. Collaboration. Support. CRS has always fostered that environment, and a culture that believes the genre is bigger than all of us and we must do everything we can, with everyone we know, to not just sustain it but to expand it.
I mentioned the CRS mantra earlier: “Growth Through Sharing.” This is our North star. CRS was created so that different industry segments – radio and records back in the day – would better understand each other and work together as much as possible for the collective success of everyone. If you’ve been to CRS you know, you can feel this at every event. It’s palpable. It’s like a family reunion. In recent years and moving forward, we’ve worked to expand the event to include all stakeholders in our industry – many whose business didn’t exist as recent as 10 years ago – with educational sessions designed to grow their business, too. We started a Digital Music Summit tract. We’re discussing country music as a global business now.
The subject matter is more sophisticated, discussion is at the highest level, and we have our industry’s best thought leaders join us. Plus, there’s incredible music all week long. All of us got into this business because we love music. It is the greatest instrument for uniting a crowd of people from all over the country. I know the following term is often connected with a church community, and I don’t offer it in that context here, but I do love it because it reminds me of what I experience on an emotional level at CRS: Everybody’s Welcome, Anything’s Possible, and Nobody’s Perfect.
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