10 Questions with ... Dawn Santolucito

BRIEF CAREER SYNOPSIS:

Dawn Santolucito got into radio accidentally, after first studying to be a speech pathologist in college. A tip from a friend about a radio internship has turned into a 16-year career that has exposed her to Top 40, Hip Hop, and, most recently, Country music, at Beasley Country WKLB/Boston. Originally the station's Dir./Marketing and Promotions Santolucito added MD responsibilities in August of 2017, shortly after PD David Corey arrived in May of that year. Santolucito and Corey followed longtime WKLB PD and MD Mike Brophey and Ginny Rogers (Rogers is now programming iHeartMedia crosstown Country WBWL) and have taken the station on a more aggressive musical position. All Access sat down with Santolucito this week to talk about the transition to music programming; balancing two key roles at the station; her take on the overall direction of Country music; and what works in the Boston market.

1. Dawn, thank you for taking the time to answer "10 Questions." Let's start with talking about how you accidentally got into radio.

I was going to be a speech pathologist, and I got early acceptance in college. That was my game plan the whole time. Then, I took a Summer to be an au pair in Italy for a little boy with a speech disorder. I loved being in Europe and but decided after that experience that speech pathology wasn't the path I wanted to follow anymore. When I came home, a friend of mine was telling me all about an internship he had done at KISS 108 in Boston and said I needed to do it too So, I applied, got the internship, and I haven't looked back since. I'm so grateful that I took that internship.

2. It's been almost a year since you've taken on MD responsibilities for WKLB, in addition to your duties as Dir./Marketing. What has been the most surprising, eye-opening revelation for you in this new role as MD?

A couple of things have definitely surprised me along the way. Taking on the music role has been exciting and working with David (WKLB PD David Corey) I have learned so much. there is a great amount of thought and care that's given to the music we pick and play; it's not just, "Oh, that song, let's play that," it's the amount of time we take to listen to music and look at research. There are so many different elements of the business that I didn't realize, because it wasn't my world; I was planning the events and executing the promotions, but in the music role you get really deep into the music side and really learn about the artists - what they've done in the past and what they're working on. It's also about really spending time listening to music. I knew I'd be listening to music, but didn't realize the actual amount I'd be doing it, I find myself listening when I first wake up, on my drive to work, and just continuously throughout the day. I love it. But, sometimes, you just have to turn the radio part of your brain off and get in the car and crank some tunes, enjoy it with the windows down, and sing along, just as a fan a music - I do that a lot.

3. As Dir./Promotions & Marketing, you've interacted with label reps before, since WKLB is so active and enjoys great relationships with Nashville. Did that dynamic change when you added the MD title? How do you separate the two relationship needs?

There's definitely a bit of a change now with my role as Music Director. Now, people are talking to you about spins, add dates, and push dates - these different things that weren't part of my world from a marketing and promotions standpoint. So, the dynamic changes a little bit, but I'm so fortunate that, in the seven years I had been doing the marketing, I was able to build some wonderful relationships with my label reps. There was already a level of trust built in there to have very open and honest conversations, so I didn't find it hard to come in and answer more in-depth music questions because the foundation of the relationships was already there. We can talk music, research, and spins, then have that same conversation about partnering together for an event. It's nice, in a sense, that I am one person doing both, because it filters into both roles. It's like a one-stop-shop.

4. WKLB has definitely become more aggressive musically with you and David. Without revealing any WKLB secret sauce, can you talk about the decision to play more music and earlier on WKLB?

I don't think it was this big conscious decision to go in one specific direction; my theory with music is that if it's a great song, it's a great song and, that song deserved to be played, whether it's a superstar or a new artist. If a new artist is the one giving us that great, must play song, then that is what needs to be played, and it's what our listeners deserves to hear. It's our job to give our listeners the best music all the time. David has an amazing ear for music, and I'd like to think mine isn't bad either. So, I think we really balance each other out and have the ability to have very open conversations about music, finding what we like, and balancing what works best for our station.

5. Since you're somewhat new to the MD role, can you tell me about your thoughts/reaction to situations like what happened a couple weeks ago, when Morgan Wallen and Blake Shelton were battling it out for #1? It was insane; do you guys have a strategy to deal with the immense pressure labels are putting on you during those types of weeks?

Weeks when two artists are going head to head it hard for all involved but it happens time to time. In situations like that, it's looking at where the research is falling and how the audience is consuming those songs. That is how we make those decisions. There are some really intense weeks with pushes, launches, and all that. The way the charts are moving - at such a slow pace - it really is crazy. There are moments when you're just like, "Whoa."

6. Let's talk about music in a general context; what trends are you seeing right now? What's working best, and are there any sounds that seem to be emerging that you think may become a force for Country radio?

I think there are a lot of extremely talented, new artists out there right now that have the ability to leave a mark in a year or two. There are artists like Abby Anderson with "Make Him Wait;" Mitchell Tenpenny, who has such a unique sound to him, and there's a richness in his voice, Russell Dickerson and Jordan Davis who have just come out of the gate so strong with great songs. There are so many up-and-comers that, hopefully, will explode for us.

7. Here's one we always like to ask: why do you think female acts struggle for traction? Take a look at the charts; we have a severe shortage of ladies who make it through the gauntlet and have hit records.

I wish I had an answer for you so that I could solve the problem. I don't know what the hesitation is with female artists. We don't have that at WKLB; if it's a good song, then it doesn't matter who is singing it - male, female, if it is tempo, slow, whatever it is - if it's a good song, it deserves to be played. Gender should have no say in it, whatsoever, and I don't know what's going to change that perspective or why that perspective even exists in this format. It shouldn't. There have been so many talented women over the years, and there are so many great, new female artists. We need more of the Kelsea Ballerini's and Maren Morris' of the world. With females, it takes longer, and they have to work harder just to get in the game. We need to figure it out fast, because I think we're missing out on opportunities for some really talented people to be heard.

8. Another standard question lately: do you see Country radio's core moving younger? Can we still rely on a wide, 25-54 demo for your sales team to reach revenue goals?

Obviously, that's the core demo, but there is more to it than just that. You need to be able to super-serve your core demo, but you need to be able to provide and entertain that younger audience, as well, because you want to bring them in, hold them, and let them grow with you. You want to bring them into that next chapter of their lives. So, I think you need to pay attention to those younger 18-24s and really give them the music they want and allow them to become passionate and dedicated to you and your brand so that they stay with you. At the end of the day, too, you still need to super-serve your current listeners. It's a balance. I've done the Pop world and the Hip-Hop world, and now, to be a part of the Country world, it's very much a lifestyle that we all love; it's a passionate group of individuals, so if you can get them at a younger age and have them build that brand loyalty to you, then they're with you for the long-haul.

9. Talk about Boston for a moment. What kind of Country music works best there?

It's definitely a combination; there are so many sounds to the format now, you have the Country music that's influenced with the Pop and Rock sound, which works. Then, you have the traditional sounds, like Justin Moore and Craig Campbell, and that works, too. It's about finding the right balance and combination of it all. So, it's not just one thing in Boston that works, which is what I think makes our market so special. We're able to give a little bit of everything to our audience. It can't be the same sound all the time. It's a really interesting blend right now, and I'm so excited, because that's what music is all about; music is meant to engage, make you feel, and it can give you that much needed escape from your day-to-day madness. One sound can't do that for everybody, so you need to be able to give everybody a little something.

10. Looking forward, do you have any aspirations of sitting in the PD chair? Is that a role that is exciting to you?

It's so funny; if you had asked me that a year or so ago, I probably would have been like, "No." But, now that I've been fully into this music side of the business, I'm learning and growing. It gets you excited, and it gets your mind thinking of next steps and opportunities. Being able to work with David - and, I've worked with Mike Brophey and other great programmers - it gives me that yeah, that someday, that could be my future.

1. What's your favorite song or artist that radio is missing the boat on right now, in your opinion? Go!

I had mentioned Mitchell Tenpenny; I think there's something really special there with him. The new Clare Dunn "More" is fantastic and "Damaged" by Rachel Wammack. There's so much good music right now, which is both good and bad,...good because that is what we are all about...the music but it's hard because there's so much music and no place to put it all. As a community, we're putting out amazing music by such talented individuals. We're fortunate that that's our problem.

2. Monta Vaden wants to know: Santolucito - Italian, no doubt - but does it have a meaning you're aware of?

It does, actually. It means "holy" or "saintly light." It's a big name to live up to!