Hot Pod Goes Cold; Substack & Spotify Team Up; IAB’s Digital Advertising Report

 Podnews reported last week that Hot Pod, one of the longest-running newsletters about podcasting, is to suspend publishing. Lead reporter Ariel Shapiro has announced that her last week with its owner, The Verge, will be next week. Deputy Editor Jake Kastrenakes added: “We won’t have a new writer in place by next week, so we’re planning to put Hot Pod on hiatus while we figure out next steps.”

The publication’s writers, Ariel Shapiro, Ashley Carman, and Nick Quah, have been a vital part of the industry since 2014 and Podnews reported that "Hot Pod inspired them to produce this daily newsletter in 2017."

I'd like to start a campaign to convince The Verge to hire one of these three people to take over Hot Pod. All three are tremendously talented and know podcasting 

The three are Arielle Nissenblatt, Wil Williams, and Samantha Hodder.

First, Arielle Nissenblatt is well-known and highly regarded in podcasting circles. In today's fragmented media world, there are TikTok celebrities, Instagram influencers, and YouTube stars who are unknown outside their media universe. If you've been involved in podcasting in any way over the last few years, you know Arielle Nissenblatt.

"I've been working in the podcast space since early 2017 when I started a podcast recommendation newsletter called EarBuds Podcast Collective,"Arielle notes. "Since then, I've managed podcast studios, worked as an in-app curator, gone to school for audio production, produced several podcasts, run successful marketing and PR campaigns for several dozen shows, have organized podcast communities on Twitter, Discord, and Slack, and much more."

Arielle confesses to "love working in and around audio because it's my favorite way to consume content. I want to help more people find their next favorite podcast."

Arielle is the founder of EarBuds Podcast Collective, a podcast recommendation newsletter. She is on the community team at Descript, an AI-powered video and audio editing software service. She hosts three podcasts: Trailer Park: The Podcast Trailer Podcast, Daily Tips That May or May Not Help You with Arielle and Ned, and Feedback with EarBuds.

Then we have Wil Williams, who is currently a marketing specialist for Tink Media. Williams has written for Discover Pods, Polygon, Vulture, and The Takeout. She has appeared on KQED's Forum, WAMU's 1A, Slate's ICYMI; has cried listening to Wolf 359's "Memoria" at least five times.

Williams is also the CEO of Podcast Problems LLC (If you have a podcast, you have problems), and you should read her website if you are a podcaster. You can read her articles there, including Your Podcast Needs Better Show Notes, Your Podcast Needs Better Metadata and my favorite, How I Know So Much Shit.

Williams also writes and manages the Substack Podcast Marketing Magic. When it comes to podcast journalism, Wil Williams is one of the very best.

Then we have Samantha Hodder, who is a multihypenate -- someone who does several different jobs in the entertainment industry—and does them well. Her Substack newsletter Bingeworthy is the mother ship for narrative podcast opinion, review, trends, and analysis. Hodder began the newsletter in September 2022 and has already amassed an impressive following.

Samantha is an award-winning audio producer and writer. She has been making media across multiple formats for over two decades. She publishes regularly on Medium and on Substack. Her narrative storytelling podcast This is Our Time launched in 2017. It is a memoir-based story about an all-women’s expedition to Antarctica for women. Season 2 was featured in the Hot Docs Podcast Festival in 2021. She works as a freelance podcast producer, editor and narration script advisor. This year, she began to teach and mentor students at TMU and OCADU in narrative podcasting.

She also works with other writers and creatives one-on-one to help them find a winning narrative structure for their projects. To see if this approach could be helpful to your work, find her free 5-day email course Find Your Fish, which draws on lessons from screenwriting, podcasting, journaling and mindful meditation.

Over the last two decades her writing has appeared in numerous newspapers and magazines and her interactive work has premiered at festivals internationally. She was the recipient of the Al Waxman Calling Card for her first documentary, The Mantelpiece, which was broadcast on TVOntario, and premiered at the Big Sky Documentary Festival in 2004. Her short film The Nothingness That Is Everything opened in Venice, Italy in 2018. 

And if all this information doesn't persuade you, Samantha is from Canada.

So, I ask The Verge to consider these three talented women for the Hot Pod role. This esteemed publication deserves a person with a deep knowledge of podcasting and a lifelong passion for audio.

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Before I extol the virtues of this latest collaboration between Substack and Spotify, I must confess that I am a little wary. Spotify entered podcasting in earnest four years ago, and since then, has created an industry-wide asset bubble that has burst, purchased accomplished podcast studios like Parcast and Gimlet and dismantled them with no remorse, and produced and released a lot of crap. 

So, we'll see how this goes.

 Podcasters on Substack are collectively earning more than $100 million in annual revenue, a number that has more than doubled in the past year. The number of active podcasters on the platform has also more than doubled in the same time span.

And it’s not just that new opportunities are available to podcasters bringing their shows to Substack—it’s benefiting existing Substack publications too. Those writers and creators who have added audio and/or video to their Substacks grow their revenue more than 2.5 times as fast as those who haven’t.

Substack makes it dead simple for anyone to independently create, publish, distribute, grow, and monetize a show.

“We used to have two different feeds, one for our paying subscribers and one for everyone to listen to free shows,” says @Alex Kirshner, a host of @Split Zone Duo, the biggest sports podcast on Substack. “We were looking for a way to put everything under one roof and make the experience as easy as possible for the people who pay us for our work. Moving to Substack from Patreon has let us do that and been very, very good for our growth in not
even half a year.”
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The Interactive Advertising Bureau (IAB) empowers the media and marketing industries to thrive in the digital economy. Its membership comprises more than 700 leading media companies, brands, agencies, and the technology firms responsible for selling, delivering, and optimizing digital ad marketing campaigns. The trade group fields critical research on interactive advertising, while also educating brands, agencies, and the wider business community on the importance of digital marketing.

I know that's a mouthful, but the IAB holds an annual in-person and virtual meeting introducing new podcasts from some of the largest podcast networks.

 The IAB's report on advertising revealed that digital advertising revenues reached a record-high of $225 billion, increasing by 7.3% year-over-year overall (YoY) between 2022 and 2023, according to the newly released “IAB Internet Advertising Revenue Report: Full Year 2023,” conducted by PwC.

The report found that Q4 saw the highest growth rate of 12.3% from the year prior (4.4%), with revenues rising to $64.5 billion.

“Despite inflation fears, interest rates at record highs, and continuing global unrest, the U.S. digital advertising industry continued its growth trajectory in 2023,” said David Cohen, CEO, IAB. “With significant industry transformation unfolding right before our eyes, we believe that those channels with a portfolio of privacy by design solutions will continue to outpace the market. For 2023, the winners were retail media, CTV, and audio, which saw the highest growth.”

Audio advertising also saw a robust expansion, growing 18.9% to reach $7 billion. It is still the fastest growing channel, albeit at a slower pace than last year. 

I know that most podcast fans have little interest in advertising trends and finances, but ads pay the bills for many podcasts.