About the paper
The Reuters Institute report examines how news podcasting is shifting from audio-only formats towards video, personality-led “shows”, and hybrid business models.
It is a mixed-methods report based on qualitative audience research with 50 regular news/current affairs podcast users in the US, UK, and Norway, mini-groups with a subset of those users, semi-structured interviews with 13 publishers plus industry experts and platforms, and selected Digital News Report/IAB quantitative data.
Length: 39 pages
More information / download:
https://reutersinstitute.politics.ox.ac.uk/changing-shape-and-new-economics-news-podcasting-listening-watching-podcasts-shows
Core Insights
1. What is the central change reshaping news podcasting?
The report argues that news podcasting is no longer simply an audio medium distributed through open RSS feeds. It is becoming a more fluid, multi-format category that blends audio, video, social clips, newsletters, live events, subscription products, and sometimes television-style shows.
The key shift is from “podcasts” as discrete audio products to “shows” as broader audience franchises. Video is the most visible driver of this change. Platforms such as YouTube, Spotify, and Apple are increasingly prioritising or enabling video podcasting, encouraging publishers to rethink production, distribution, discovery, and monetisation.
The report does not claim that audio is disappearing. Instead, it argues that podcasting is becoming dual-format. Audiences often use audio and video in different contexts: audio while commuting, exercising, cooking, or multitasking; video at home, on YouTube, or on connected televisions. This means publishers are not simply replacing audio with video, but trying to work out which formats, shows, and audiences justify investment in video.
A second major change is the rise of personality-led conversational formats. These are cheaper to produce than heavily edited narrative documentaries, easier to turn into video, and better suited to social clips and host-driven audience relationships. This is pushing parts of the market away from highly produced narrative series and towards recurring, reactive, talent-led shows.
2. How are audiences using news podcasts, and what do they value about them?
The report finds that news podcast users are generally a highly engaged subset of the news audience. They are not usually using podcasts as their only source of news. Rather, podcasts supplement other formats by offering depth, explanation, perspective, and a more conversational relationship with journalists or hosts.
Podcast use is described as complementary to other news habits. Social media may provide fast discovery, websites and apps provide checking and updates, radio may support routine listening, while podcasts are used for deeper understanding. This makes podcasts particularly valuable for “active knowledge-building” rather than simple headline consumption.
The appeal of video varies by country, context, and content type. US respondents were more open to video podcasting, partly because YouTube plays a larger role in their podcast discovery and consumption. Norwegian respondents were more resistant, with stronger attachment to audio and local public-service audio platforms. UK users sat somewhere between these positions.
Audiences gave three main reasons for choosing video:
- personal format preference
- consumption context
- and content type.
Some younger users feel more connected to hosts when they can see facial expressions, body language, and surroundings. Others only want video when the subject benefits from visuals, such as breaking news footage, complex explanations, comedy, lifestyle, or entertainment. For factual news, many still prefer audio because it is flexible, intimate, and easy to use while doing other things.
3. How are publishers responding to the shift towards video?
Publishers are taking video seriously, but most are cautious about a full “pivot to video”. The report identifies three main strategic reasons for investing in video: acquisition, retention, and revenue.
For acquisition, video helps publishers reach audiences through YouTube, TikTok, Instagram, YouTube Shorts, Spotify, and connected TVs. Video clips are easier to share and can act as discovery tools for younger audiences who may not actively seek out publisher websites or podcast apps.
For retention, podcasts deepen audience relationships. The report repeatedly emphasises the human dimension of podcasting: hosts build trust, habit, familiarity, and parasocial connection. For subscription publishers, these relationships can reduce churn and strengthen the broader value of the subscription bundle.
For revenue, video opens access to larger advertising budgets than audio alone. However, the report is careful to note that the economics remain uncertain. Video production costs more, requires new workflows, and may not pay off in smaller markets where advertising opportunities are limited.
Publisher strategies differ sharply. The New York Times is selective: shows such as Hard Fork, Popcast, and The Ezra Klein Show have video versions, while The Daily remains audio-first. The Guardian is also hybrid, using video for some conversational and sports formats while protecting narrative audio investigations. Die Zeit treats video mainly as a discovery layer. The Economist is exploring video inside a subscription ecosystem. Nordic publishers such as Bonnier, Schibsted/Podme, and Politiken are more cautious because they already have strong audio habits, subscription models, and smaller advertising markets.
The report’s table on publisher strategies is especially useful because it shows that video is not one strategy but several: full video versions, short promotional clips, subscriber-only video, TV/documentary extensions, studio models, and selective experiments.
4. What is changing in the economics of news podcasting?
The economics are becoming more complex and hybrid. Traditional podcasting has mostly been free and advertising-supported, but publishers are now experimenting with subscriptions, bundles, premium layers, bonus episodes, live events, memberships, merchandise, IP licensing, and brand partnerships.
The report shows that direct payment remains difficult. Audience research in the US, UK, and Norway found that many listeners value news podcasts but are reluctant to pay because there are so many free alternatives. Some would switch to another show if their favourite podcast went behind a paywall. Others might pay only for genuinely distinctive content, such as exclusive interviews, deep expertise, investigative journalism, archives, or bonus material.
Several publishers are nevertheless testing paid audio. The Economist put most of its podcasts behind a paywall while keeping The Intelligence free. Die Zeit launched a separate podcast subscription. Politiken launched a stand-alone audio app. The New York Times offers an audio subscription mainly around archives and bonus material, while still using free recent episodes to support the broader bundle. Schibsted/Podme uses a premium podcast subscription model in the Nordics, with some free content and some exclusive paid layers.
Advertising remains central, but video changes the opportunity. The report notes that US podcast advertising revenue reached $2.4 billion in 2024, while digital video advertising was vastly larger. That creates an incentive for podcast publishers to access video budgets. But the advertising market is still organised around separate audio and video buying teams, and measurement, ad-serving, pricing, and platform standards remain unresolved.
The report’s broader conclusion is that podcasts are rarely just stand-alone revenue products for traditional publishers. They are often part of a wider funnel: attracting new users, increasing engagement, reducing churn, and adding value to subscriptions.
5. What are the wider implications for journalism and media organisations?
The report suggests that the future of news podcasting will be shaped by a tension between journalism-led publishing and creator-led show business.
For traditional newsrooms, the challenge is organisational as much as technological. Audio, video, social, text, product, and commercial teams can no longer operate as separate silos if one recorded conversation can become a podcast episode, a video episode, social clips, a newsletter, a transcript, a written article, and a subscriber feature. This requires new skills, new production workflows, and potentially new “studio” or “show” structures inside media companies.
The rise of talent also raises editorial questions. Podcast-first companies such as Goalhanger and Chora Media put hosts, fandoms, communities, and show brands at the centre. Their model looks less like traditional news publishing and more like a blend of creator economy, television, live events, and music-industry-style fandom. Traditional publishers may want some of that audience loyalty, but adopting the model raises questions about editorial control, host power, commercial boundaries, and whether newsrooms are set up to develop and retain talent in the same way.
The report’s final implication is that “podcasting” itself is becoming harder to define. Some purists still tie the term to RSS distribution or audio. But in practice, audiences increasingly encounter podcasts on YouTube, Spotify, Apple, social feeds, connected TVs, apps, and paywalled publisher products. The boundaries between podcast, video show, radio programme, social franchise, and subscription product are blurring.
The report concludes that the future is unlikely to be audio versus video. It is more likely to be a hybrid ecosystem where successful publishers combine reach and depth, free and paid layers, journalism and personality, open distribution and owned platforms. The strategic question is how much news organisations are willing to invest in creator-led, show-based formats without losing the editorial qualities that made their audio journalism valuable in the first place.