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KEGL


KEGL (97.1 FM) is a commercial radio station licensed to , operating on the 97.1 MHz frequency and serving the Dallas–Fort Worth metropolitan area. Owned by , it currently broadcasts a mainstream rock format under the branding "97.1 The Eagle," featuring artists such as Metallica, , and . The station adopted the KEGL call letters in 1981 and has undergone multiple format shifts, including Top 40 and harder rock iterations, with the "Eagle" moniker originating in 1992. In 2004, it briefly transitioned to adult contemporary before returning to rock elements; more recently, from October 2022 to April 2024, KEGL operated as the sports talk outlet "97.1 The Freak," which was discontinued in favor of reviving the rock-focused Eagle format. Historically, the station has aired notable programming, including in the early 1990s and the long-running Russ Martin Show until Martin's death in 2021.

History

Inception and Early Years (1970s–1980s)

The 97.1 FM frequency in Fort Worth, Texas, began operations in June 1959 as KFJZ-FM, simulcasting its AM sister station's programming initially focused on beautiful music and middle-of-the-road formats. By the early 1970s, under continued KFJZ-FM calls, the station transitioned to a Top 40 format, branding itself as "Z-97" and competing in the Dallas-Fort Worth market with high-energy contemporary hits aimed at younger listeners. This period marked the station's shift toward more aggressive music programming, though it struggled for significant ratings dominance amid competition from established AM Top 40 outlets like KLIF. In January 1981, the station adopted the KEGL call letters and launched the "97.1 The Eagle" branding, evolving into a rock-leaning contemporary hits radio (CHR) format that blended Top 40 currents with tracks to differentiate from softer competitors. The change was spearheaded by ownership seeking to capitalize on FM's growing audience share in the metroplex, with early promotions emphasizing "eagle-eyed" selection of high-energy rock and pop hits. KEGL quickly gained traction, debuting in the Arbitron top 10 ratings by mid-1981, buoyed by its high-power signal covering the expansive Dallas-Fort Worth area and on-air personalities delivering a lively, youth-oriented presentation. On September 27, 1982, KEGL refined its sound by pivoting to a "Rock of the 80s" format, inspired by models like , which prioritized , rock, and tracks over mainstream Top 40 fare, further solidifying its niche in the competitive landscape. This evolution maintained the station's upward trajectory through the mid-1980s, with consistent top-10 finishes in ratings books, though it faced intensifying rivalry from emerging CHR stations like KAFM. By the late 1980s, KEGL had established itself as a staple for rock enthusiasts, occasionally adjusting playlists to incorporate harder-edged album cuts while retaining broad appeal.

Rock and Top 40 Era (1990s)

In the early , KEGL transitioned to a mainstream Top 40/ (CHR) format, incorporating more dance, rhythmic, and R&B tracks beginning in late 1989 and continuing into 1990, which diluted its prior rock-leaning playlist. This adjustment aligned with national CHR trends amid format struggles but positioned KEGL as a key player in Dallas-Fort Worth's Top 40 competition against stations like KHYI, achieving ratings such as 9.4 in select surveys during the period. By October 1990, the station had further emphasized urban influences, adding rap content while reducing emphasis on rock staples like to appeal to broader rhythmic audiences. In June 1992, KEGL relaunched with a shift to a harder-edged format, initially described as (AOR) with elements, moving away from CHR's pop and rhythmic focus to prioritize guitar-driven and alternative-leaning tracks. This change reflected market demands for distinct programming in Dallas-Fort Worth, where KEGL differentiated itself from softer competitors. Throughout the mid-to-late 1990s, the station maintained this orientation, building a core audience with heavier rotations while occasionally retaining transitional CHR-era imaging under the "Eagle" branding.

CHR/Rock and Active Rock Shifts (2000–2003)

KEGL continued its format as "97.1 The Eagle" throughout 2000–2003, focusing on a playlist dominated by current and recurrent , , and metal tracks from artists such as Metallica, Korn, and . The station's programming emphasized high-energy presentation to appeal to a male-skewing audience aged 18–34, maintaining its position in the –Fort Worth market amid competition from outlets like "". No wholesale format overhaul occurred during this interval, distinguishing it from earlier transitions in the when the station solidified its shift from Top 40 influences to purer . In November 2000, air personality hosted segments on KEGL, exemplifying the station's commitment to local talent delivering rock-oriented content, including artist interviews and concert promotions. Programming adjustments in this era likely involved curating playlists to incorporate emerging nu-metal and acts, reflecting broader industry trends toward harder-edged to counter the softening of mainstream radio elsewhere. Ratings data from the period indicate KEGL held steady listener share, benefiting from the enduring popularity of in the region until economic pressures prompted a format pivot in 2004. The absence of CHR elements during 2000–2003 marked a departure from the station's rock-leaning CHR hybrid of prior decades, with KEGL fully entrenched in Active Rock by the millennium's start. This stability allowed for consistent branding under "The Eagle" moniker, fostering listener loyalty through events like live broadcasts from local venues and sponsorships tied to rock festivals.

Spanish-Language Formats (2004–2007)

On August 25, 2005, KEGL launched "La Preciosa," a format featuring and other hits primarily from the 1970s, 1980s, and early 1990s, targeting the growing Hispanic audience in the Dallas-Fort Worth area. The shift followed underwhelming performance of the preceding English-language soft adult contemporary "Sunny 97.1" format, which had debuted in May 2004, as Communications sought to capitalize on demographic trends in Spanish-language broadcasting. Programming emphasized nostalgic boleros, rancheras, and grupero music, with on-air talent including holdover morning co-host Anna deHaro from "" and Jamie Alejandro. The format aligned with Clear Channel's broader rollout of "La Preciosa" branding on select stations, prioritizing adult-oriented content over contemporary hits to appeal to older listeners. "La Preciosa" aired until December 3, 2007, when KEGL abruptly dropped the format for a commercial-free all-Christmas music stunt, signaling an impending return to English-language programming amid shifting market strategies. This two-year run reflected Clear Channel's experimentation with ethnic formats but ultimately yielded to renewed demand for rock-oriented content on the frequency.

Return to English Rock as The Eagle (2008–2021)

On December 18, 2007, KEGL abandoned its Spanish adult contemporary format as "La Preciosa" and relaunched with an format under the revived "97.1 The Eagle" branding, marking a return to English-language programming after a three-year hiatus. The station debuted at 10:00 a.m. with Ozzy Osbourne's "Flyin' High Again," emphasizing a of established staples and emerging tracks to recapture its prior audience in the Dallas-Fort Worth market. This shift occurred under Communications (later ), which sought to fill a void left by the 2004 discontinuation of the station's original incarnation. Throughout the 2008–2021 period, KEGL solidified its position as a leading outlet, programming a core library featuring artists like Metallica, , and alongside current releases in the genre. The station occasionally incorporated promotional stunts, such as a brief to "97.1 The Bird" on January 8, , coinciding with [Dallas Cowboys](/page/Dallas Cowboys) playoff coverage to leverage local sports interest before reverting to The Eagle. Local and syndicated personalities contributed to its lineup, including radio veteran Russ Martin, who joined for evening shifts starting in after stints at other outlets. KEGL also hosted recurring live events, notably the annual BFD (Big Fucking Deal) concert series, which debuted in this era and showcased multiple rock acts over 16 iterations through 2021. By the mid-2010s, KEGL adjusted its playlist to include more influences following iHeartMedia's 2016 sale and format shift of sister station ("The Edge"), which had previously dominated that niche. Despite industry challenges for stations, KEGL sustained ratings viability through targeted promotions and community engagement, maintaining the uninterrupted until its 2022 pivot. Under program directors like Max Dugan (who oversaw operations for four years in this span), the station prioritized a high-energy mix that balanced heritage acts with newer material to appeal to a broad rock demographic.

Transition to Talk and Sports as The Freak (2022–2023)

On October 3, 2022, at 3:00 p.m. CT, iHeartMedia transitioned KEGL from its classic rock format as "97.1 The Eagle" to a hot talk and sports format rebranded as "97.1 The Freak." The change followed a weekend of stunting with a loop of tracks containing "freak" in the title, including "Super Freak" by Rick James, "Le Freak" by Chic, "Get Ur Freak On" by Missy Elliott, and "Freaks Come Out at Night" by Whodini. The format emphasized personality-driven, uncensored sports and entertainment discussion, positioning itself as a free-form alternative to established competitors like KTCK "The Ticket" in the Dallas-Fort Worth market. Initial programming featured veteran host , known as "The Old Grey Wolf" and co-founder of The Ticket, returning from 1,000 days of retirement to anchor afternoons from 3:00 to 7:00 p.m. CT. In June 2023, the station expanded its sports coverage by adding NBA insider for a weekend program covering free agency and offseason developments. On July 24, 2023, following the appointment of program director Dominic "Zakk" Zaccagnini, The Freak overhauled its weekday lineup: mornings shifted to Kevin "KT" Turner alongside Mike Sirois and Danny Balis, while Rhyner's afternoon show incorporated co-hosts Jeff Cavanaugh and Jake Kemp. These adjustments aimed to strengthen appeal amid competition in the local sports talk landscape.

Relaunch as The Eagle (2024–Present)

On April 29, 2024, relaunched (97.1 FM) in the as "97.1 The Eagle" with an format, discontinuing the hot talk "The Freak" programming that had aired since 2022. The format change took effect immediately after 10 a.m., opening with Metallica's followed by a custom recorded message from the band announcing the station's return to . The relaunch restored the "Eagle" branding previously used from 2008 to 2021, positioning the station as –Fort Worth's rock outlet with a focus on artists. Programming includes syndicated shows such as "The Woody Show" airing weekdays from 5 to 10 a.m. , hosted by Woody, Ravey, Gory, Menace, and Sebas, alongside local personalities like JROD for mornings, Theresa for middays, for afternoons, and Krystina Ray for evenings. "The Ben and Skin Show" also features in the lineup, delivering sports and entertainment commentary. KEGL continues to serve as the radio home for NBA games under a multi-year agreement with extending through the 2026 season, including pre-game coverage and post-game analysis for all regular-season and select preseason broadcasts. The station hosts events like the annual BFD concert, with the 2025 edition scheduled for May 25 at featuring performers such as and . As of October 2025, the format and "The Eagle" branding remain in place.

Ownership and Operations

Licensing and Ownership History

The station received its initial Federal Communications Commission (FCC) license for 97.1 MHz as KFJZ-FM on June 7, 1959, serving , as the FM adjunct to KFJZ (AM) and KFJZ-TV. In April 1969, the call sign changed to KWXI amid a shift to an format branded as "Kwiksie." The call reverted to KFJZ-FM in October 1976 before adopting KEGL in 1981, aligning with the introduction of the "" rock-leaning Top 40 branding. The FCC renewed KEGL's license in a 1994 decision addressing operational compliance. Ownership transitioned to Communications in the late 1990s during the company's post-Telecommunications Act expansion, acquiring numerous Dallas-Fort Worth stations including KEGL. took the station private via a $18.7 billion in 2008 and rebranded to , Inc. in 2014, with KEGL now held under subsidiary iHM Licenses, LLC. No major license revocations or transfers beyond corporate restructurings have occurred since.

iHeartMedia Management

iHeartMedia, Inc. oversees KEGL's operations within its Dallas-Fort Worth cluster of 13 stations, integrating the station into a portfolio that emphasizes digital integration, syndicated content, and revenue optimization through advertising and events. The company's management structure features regional presidents reporting to corporate executives in , with local programming guided by market-specific strategies to compete in the metroplex's fragmented audio landscape. KEGL's format decisions, such as the 2022 shift to sports-talk "The Freak" and the April 29, 2024, relaunch as "97.1 The Eagle," reflect iHeartMedia's adaptive approach to listener metrics and advertiser demand, often involving rapid rebranding to revive heritage formats. As of September 30, 2025, serves as Region President for , responsible for cluster-wide revenue, content direction, and talent management, reporting to iHeartMedia's Markets Group leadership. Previously, Amy Leimbach, as Region President for markets including , spearheaded the 2024 Eagle relaunch, stating it aimed to restore a "legendary station" to capitalize on nostalgia and rock heritage in the market. Program directors for KEGL have included Don Davis, who resigned in September 2022 amid the Freak transition, and "Zakk" Zaccagnini, who managed both KEGL and sister KZPS until his departure in November 2024 layoffs. KEGL's studios are co-located with the cluster at 14001 Dallas Parkway, Suite 300, , 75240, facilitating shared resources like sales teams and digital platforms such as streaming. 's centralized model has led to periodic staff reductions, including cluster-wide cuts in November 2024, to streamline operations amid industry pressures from streaming competition and declining ad revenues. These efforts prioritize data-driven playlist curation and multi-platform syndication, with KEGL featuring local air talent alongside network programming to balance costs and local relevance.

Programming and Content

Music and Format Details

KEGL has historically emphasized rock-oriented formats, evolving from rock-leaning (CHR) in the to emphasizing harder-edged guitar-driven music from the onward. During its "Rock of the 80s" phase starting September 27, 1982, the station adopted a playlist modeled after KROQ's alternative and selections, focusing on emerging rock acts rather than broad Top 40 crossovers. In active rock iterations, such as the 1992 shift to harder rock and the 2007 relaunch, KEGL's programming centered on album tracks, power ballads, and anthems from genres including , , and , with a typically comprising 40-50% currents and new releases, 30% recurrents from the prior 18 months, and 20-30% library staples from the 1980s to early . This structure prioritizes high-rotation testing via industry tools like , favoring tracks with strong regional airplay in markets like Dallas-Fort Worth. The April 29, 2024, relaunch as "97.1 The Eagle" reinstated an active rock format, opening with tracks like Metallica's "Master of Puppets," AC/DC's "Back in Black," and Foo Fighters' "Best of You," signaling a blend of 1980s metal classics, 1990s-2000s hard rock, and modern alternatives. Programming avoids soft rock or pop-infused hybrids, instead curating high-energy sets to appeal to core rock listeners, supplemented by occasional deep cuts and artist spotlights. The HD2 subchannel, branded "The Edge," extends this with alternative rock, featuring edgier, guitar-based independents and emerging acts not fitting the main channel's active focus. During non-rock periods, such as the 2022 "97.1 The Freak" hot talk/sports hybrid, music was minimal, limited to stunting playlists of tracks containing "freak" (e.g., freak-themed songs played over a weekend before the October 3 launch) rather than sustained format rotation. Spanish-language phases from 2004-2007 similarly de-emphasized English rock, shifting to regional Mexican or oldies without detailed rock playlist continuity.

On-Air Personalities and Shows

KEGL has featured a variety of on-air personalities across its rock formats, with programming emphasizing personality-driven segments alongside music. In the station's era from 2008 to 2021, Russ Martin hosted a prominent afternoon show known for its humor, listener interaction, and local focus, which aired until Martin's death on February 27, 2021. Martin's tenure included collaborations with co-hosts like his "show class," contributing to the station's community engagement through charity events. During the 2022–2024 period as 97.1 The Freak, which incorporated hot talk elements, Ben Rogers and Skin Wade (Ben & Skin) hosted an afternoon program from 3:00 to 6:00 p.m. weekdays, blending sports commentary, comedy, and pop culture discussions; the show transitioned to the relaunched rock format in 2024. Mike Rhyner, a veteran figure, anchored "The Speakeasy" in afternoons starting in late 2022, joined by Jeff Cavanaugh and Julie Dobbs after a 2023 schedule shift. Upon KEGL's return to as 97.1 The Eagle on April 29, 2024, mornings feature the syndicated Woody Show, hosted by Woody alongside co-hosts Ravey, Greg Gory, Menace, and Sebas, known for irreverent banter and music segments. Evenings include Theresa, who handles music shifts with artist spotlights, while Krystina Ray contributes as a producer for Ben & Skin and occasional nighttime host. The maintains a mix of local and syndicated content to complement the rock playlist.

Play-by-Play Sports Broadcasts

During its tenure as "97.1 The Freak" from October 2022 to April 2024, KEGL served as the flagship radio station for Dallas Mavericks NBA games, broadcasting all regular-season and playoff contests with pre-game coverage starting 30 minutes before tip-off and post-game analysis. The play-by-play team consisted of Chuck Cooperstein handling primary duties alongside analyst Brad Davis, a former Mavericks player. This arrangement continued even after the station's format shift back to rock as "97.1 The Eagle" in late April 2024, with Mavericks broadcasts retained through the remainder of the 2024 NBA playoffs. In June 2023, KEGL entered a multi-year agreement with the Athletics and Learfield's Mean Green Sports Properties to air Mean Green games, beginning with the 2023 season. Play-by-play announcer Dave Barnett, a alumnus and Emmy Award winner, led the broadcasts, supported by color analysts and sideline reporters. These games aired live on Saturdays during the season, complementing the station's sports talk programming. No other major professional or collegiate play-by-play rights were held by KEGL during this period, distinguishing its sports coverage from competitors carrying or games.

Technical Information

Broadcast Signal and Coverage

KEGL broadcasts on 97.1 MHz as a Class C FM station licensed to . The station employs technology, transmitting both analog and digital signals, with the primary analog signal serving as the main audio channel. Its transmitter is located in the in , at coordinates 32° 35' 19" N, 96° 58' 06" W, utilizing a non-directional pattern. With an (ERP) of 97,000 watts and an (HAAT) of 508 meters, the signal provides robust coverage across the Dallas–Fort Worth metropolitan area, encompassing urban centers like , Fort Worth, , and surrounding suburbs. This setup enables reliable within a radius sufficient to reach the core market population, though signal strength may vary due to terrain, buildings, and atmospheric conditions, with potential fringe extending into adjacent rural areas of . The station's license, granted by the FCC, expires on August 1, 2029, ensuring continued operation under current parameters absent modifications.

HD Radio Channels

KEGL employs technology to provide multicasting capabilities, allowing the transmission of multiple digital subchannels alongside its primary on 97.1 MHz. The HD1 subchannel mirrors the main channel's programming, delivering the station's format branded as "97.1 The Eagle," which features artists such as , Led Zeppelin, and , with a focus on from the through the . This format returned to the primary channel on April 29, 2024, following a brief stint as sports talk "97.1 The Freak" from October 2022 to April 2024. The HD2 subchannel airs an format under the branding "97.1 HD2 ," emphasizing modern rock acts like , , and newer indie influences. This programming was introduced on KEGL-HD2 in April 2024 after the main channel reverted to , relocating the alternative format from the HD2 of co-owned KDGE (102.1 ), which had previously carried "" until its format shift to adult contemporary. Prior to the 2024 relaunch, KEGL-HD2 simulcasted the displaced "Eagle" format during the sports talk era, maintaining continuity for rock listeners via digital receivers. No HD3 subchannel is currently active on KEGL, limiting multicasting to two digital streams optimized for improved audio quality and coverage within the Dallas-Fort Worth metroplex, where the station's Class C signal reaches approximately 60 miles from its transmitter site near . HD Radio reception requires compatible tuners, with promoting the subchannels through its and over-the-air IDs for digital listeners.

Controversies and Criticisms

Controversial On-Air Content

KEGL has broadcast content that sparked public backlash and regulatory action due to its provocative nature. In June 2001, evening hosts Keith Kramer and Tony "Twitch" Longo, known as Kramer and Twitch, aired a hoax news bulletin falsely reporting that Britney Spears had died in a drunk-driving car crash involving Justin Timberlake as a passenger, with Spears portrayed as intoxicated and Timberlake in critical condition. The segment, intended as a prank targeting pop music fans outside the station's rock audience, prompted numerous panicked calls to KEGL, local hospitals, and Spears' label, Jive Records, from concerned listeners believing the report to be genuine. The led to the hosts' immediate suspension and termination by KEGL on June 20, 2001, amid complaints from fans and Spears' representatives, though no formal FCC indecency fine was issued for this specific incident. later defended the bit as typical radio humor, claiming it did not anticipate the extent of public reaction, but critics argued it exemplified irresponsible broadcasting that blurred with . The pair had previously faced FCC fines for on-air expletives, reflecting a pattern of edgy, rule-testing content on the station. The Russ Martin Show, which aired on KEGL from the late through various stints until Martin's death in 2021, frequently featured crude, sexually explicit humor and pranks described by media observers as the most provocative in radio history, including bits involving adult film references and interpersonal torment for comedic effect. Such segments drew listener complaints and internal tensions but boosted ratings through unfiltered , though they also alienated co-workers and figures like adult entertainer . No major FCC indecency fines were documented for Martin's program, unlike earlier fare on the station.

Artist Booking Decisions

In May 2025, KEGL organized its BFD (Biggest Freaking Day) concert at Dos Equis Pavilion in Dallas, featuring Marilyn Manson as co-headliner alongside Chevelle, with additional performers including P.O.D. and Sleep Theory. The event, scheduled for May 25, marked the revival of the station's annual rock festival after a hiatus following KEGL's temporary format shift to sports talk in 2022. The booking of Manson, announced in December 2024, prompted criticism due to ongoing allegations against him dating to 2021, when actress publicly accused him of grooming and abuse during their relationship from 2007 to 2010. Similar claims emerged from other women, including model Bianca Allaine, alleging assaults in 1995 and 1999. Manson has denied the accusations, describing them as fabrications, and a investigation into related claims was closed on January 24, 2024, citing insufficient evidence and expired statutes of limitations. No criminal charges have resulted from these allegations. Critics, including a Dallas Observer article published February 14, 2025, questioned the decision to platform Manson, labeling him "disgraced" and debating whether audiences should support his return amid unresolved civil suits and public scrutiny. The piece highlighted fan enthusiasm alongside concerns over repeated bookings despite the controversy, though no organized boycotts or widespread protests materialized. KEGL did not publicly address the backlash in available statements, proceeding with the event as a promotional tie-in to its rock format relaunch under . This incident reflects broader tensions in artist selections for radio-promoted events, where commercial appeal intersects with allegations lacking legal conviction.

Format Change Backlash

In May 2004, after months of speculation, owner Communications terminated KEGL's format as "97.1 The Eagle," dismissing the on-air staff on May 17 and relaunching the station as "Sunny 97.1," a soft contemporary outlet emphasizing hits from the , , and to target the 25-54 demographic and challenge competitor . The shift marked the end of a format that had defined the station since the early , though its ratings had faltered, failing to crack the market's top 10 since 2001. The abrupt change sparked immediate listener backlash, with irate callers flooding phone lines the following day to express dismay over the loss of dedicated rock programming. Rival station 93.3 The Bone capitalized on the discontent, airing on-air commentary denouncing the flip and extending an invitation to displaced fans to switch frequencies. Some listeners reportedly migrated to online streaming or digital music services amid a perceived scarcity of options on terrestrial radio. A similar, though less intensely documented, reaction occurred in October 2022 when converted KEGL from back to hot talk and sports as "97.1 The Freak" on October 3, relegating the format to the HD2 subchannel and online streaming. Described as one of the Dallas-Fort Worth market's final full-power rock outlets, drew quiet from enthusiasts concerned about diminishing analog access to the , preceding the format's eventual full in April 2024 after The Freak's underwhelming 18-month run.

Market Impact and Reception

Ratings Performance and Achievements

KEGL's ratings performance has fluctuated across formats and eras, with peaks in the 1980s as a Top 40 outlet but consistent underperformance in recent decades relative to Dallas-Fort Worth market leaders. In Spring 1987, under Birch Research metrics, the station achieved a 9.4 share among adults 12+, reflecting strong appeal during its CHR phase. Earlier rock-leaning iterations also contributed to regular high rankings among top stations in the market during the 1980s. As classic rock "97.1 The Eagle" in prior stints, KEGL posted shares up to 5.6% in select books, such as around 2020, outperforming some peers but never dominating the market. The 2021 shift to sports talk "The Freak" yielded persistently low results, with shares declining from 2.7% in late 2021 to 1.6% by April 2022 and stabilizing around 1.3% through 2023, ranking it 28th overall and far behind rivals like 1310 The Ticket and 105.3 The Fan. This underwhelming performance, coupled with high content costs, drove the April 2024 reversion to rock. Post-relaunch as "97.1 The Eagle," ratings showed modest gains, climbing from 24th to 7th place in May 2024 amid broader market shifts. Subsequent Nielsen data indicated shares of 1.7% in prior periods, dipping to 1.1% before rebounding to 1.5% in the September 2025 survey (covering August 21 to September 17), remaining in the low single digits without approaching historical highs or competitive benchmarks. The station has no documented major awards or sustained achievements in ratings leadership, with recent efforts like adding The Woody Show in mornings (June 2024) aimed at bolstering listenership but yielding limited verifiable uplift.

Influence on Dallas-Fort Worth Radio Market

KEGL, operating as "97.1 The Eagle," established itself as a cornerstone of the Dallas-Fort Worth scene following its shift to a harder-edged rock format in June 1992, building on earlier rock-leaning programming since 1981. As one of the market's enduring rock outlets amid competitors' transitions to other formats, it maintained a dedicated audience for classic and , including artists like Metallica and , influencing the availability of programming in a metroplex increasingly dominated by country, CHR, and talk genres. The station's October 3, 2022, flip to "97.1 The Freak"—a hot talk/sports hybrid—marked a pivotal intervention in the crowded sports radio segment, recruiting high-profile local talent such as Mike Rhyner, co-founder of rival KTCK "The Ticket," alongside figures like Jeff Cavanaugh and Julie Dobbs for shows like "The Freakeasy." This created a third dedicated sports-talk contender in the nation's fifth-largest radio market, aiming to capture untapped "free-flowing" conversations and fragment listenership from established leaders like The Ticket (ranked consistently in the top five) and KESN "The Fan." The move also absorbed personalities from across the market, temporarily reshaping talent distribution and intensifying competition for advertising dollars in sports programming. However, The Freak's experiment yielded modest results, posting a 1.3 share in recent books and ranking 28th overall, reflecting listener loyalty to incumbents and the format's saturation in . iHeartMedia terminated the lineup on April 26, 2024, after 18 months, reverting to the rock brand to address demand for its legacy format and highlighting the risks of format pivots in a declining linear radio landscape strained by streaming alternatives. This rapid reversal underscored KEGL's role in testing market boundaries, as the brief talk incursion failed to erode dominant players' shares while depleting options temporarily—leaving fans reliant on HD2 streams or online streams during the interim. Prior to the flip, KEGL bolstered its market presence by becoming the flagship for NBA broadcasts on September 24, 2021, integrating content into its lineup and retaining game rights through the Freak era's . Overall, KEGL's format oscillations have demonstrated the metroplex's preference for entrenched formats, with its heritage providing a stabilizing influence against over-fragmentation in talk and segments.

Criticisms of Commercial Practices

Former host criticized iHeartMedia's handling of KEGL's talk format, attributing its 16-month run from October 2022 to April 2024 to the company's impatience with revenue growth, stating that requires "the stomach for the fight" and sufficient time to develop an audience, which "you never get." He noted the decision to revert to the rock-oriented "97.1 The Eagle" was driven by "bean count" metrics, prioritizing short-term profitability over nurturing an unproven asset despite positive listener feedback and audience gains. Industry commentary highlighted flaws in the station's commercial positioning, as the broad, undefined "hot talk" approach—avoiding strict or political niches—fragmented its appeal, complicating advertiser targeting for specific demographics and hindering sales. Analysts observed that iHeartMedia's limited investment in digital extensions, such as simulcasts on platforms like or , further constrained revenue diversification in a shifting toward streaming. Broader critiques of 's practices pointed to corporate emphasis on scalable national formats over local experiments like The Freak, amid a 6.2% drop in broadcasting revenue and industry-wide ad declines projected at 0.9% for 2024 to $11.86 billion. Experts such as SMU's David Sedman argued this reflected a risk-averse unsuited to talk radio's slower monetization curve, while Talkers Magazine's Michael Harrison linked it to economic pressures favoring established revenue streams.

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