Cartography of Podcasting in Colombia: Configurations, Trends and Challenges

Abstract

Despite the predominance of traditional radio in Colombia, particularly in terms of its role as a medium, podcasting is gaining significance due to its flexibility, personalisation, and use of shorter formats. The research presented here seeks to delineate the sound ecosystem present in Colombia in order to recognise and evaluate its status and transcendence in the digital sonosphere. The study corpus comprised 160 podcasts, encompassing sound material from production companies, radio stations, other media outlets, and independent podcasters. This paper proposes an innovative content analysis of a corpus, with a methodology combining three categories of analysis. The production logics of podcasting bear a strong resemblance to those of radio broadcasting, largely due to the significant presence of operators within this industry who have established themselves as production companies or independent podcasters. The growth of the industry from 2020 to 2024 positions Colombia as a regional benchmark in digital audio consumption and production.

1. Introduction

In the contemporary digital environment, the pervasive connectivity of the population and the ubiquity of the smartphone as a conduit for network access have become deeply entrenched (Pérez Tornero & Pedrero Esteban, 2020). This paradigm shift has given rise to an ecosystem centred on consumption, which necessitates the transformation of conventional media and the reinvention of communicative products within the Internet framework. The environment has been shown to revitalise McLuhan’s axiom (McLuhan, 1967), in which the medium, now regarded as the technology, device, or interface, has been demonstrated to shape the message. In the contemporary environment, analogue media is faced with considerable challenges as it is compelled to compete with digital native media. It is compelled to migrate from linotype to web media, from radio to the digital sonosphere, and from television to live and video on demand. The socio-cultural context is interpreted, and the public is helped to understand the complexity of the world in which they live. It is imperative to acknowledge the significance of this space as a recognised alternative for utilisation, production, and consumption across multiple platforms. As posited by Aleixandre-Benavent et al. (2020), the communication industry is characterised by the intermingling of variables that delineate a complex system. This industry weaves a tangled web that imposes rhythms and productive routines far removed from the traditional performance models of traditional media (Singhal & Kim, 2021).

The network’s narrative universe poses a considerable challenge for the radio medium in its attempt to adapt to the particularities of the digital sonosphere of listeners/users (Barrios-Rubio, 2021; Perona-Páez et al., 2014). Notwithstanding the apparent ambiguity of the term, especially with regard to its application in the context of observing audio consumption behaviours and habits (Torras i Segura, 2020), this research does not merely reduce it to a discussion of the reception space. Instead, it conceptualises it as a tactical map that delineates a hybrid scenario encompassing the web, applications, social networks, audiobooks, podcasts, and audio tools that are committed to the personalisation of the synchronous consumption of the product broadcast on air, as well as the asynchronous, or on-demand, consumption of material conceived for the digital space. This theoretical and conceptual stance differs from a deterministic technological adaptation of other previous concepts and denominations (Torras i Segura, 2020).

The immediacy and intimacy of the on-air sound product is superseded by a new range of content, narrative formats, and micro-journalism that are becoming popular in the digital ecosystem. The network unites a diverse array of products from the radio industry, journalistic agents, and independent producers, which are presented on podcast platforms through a defined, labelled, and segmented catalogue (Pérez-Alaejos et al., 2022). The menu under consideration combines media communication proposals and native content (Pérez-Alaejos et al., 2018). This development has the effect of broadening the availability of genres that experiment with ways of telling and producing narrative stories of timeless, current, or past content from different perspectives. It also entails a menu of sound proposals suitable for different audience niches, adapted according to the use and appropriation of media and platforms, as well as a broad knowledge of media culture for the configuration of communicative proposals that respond to the reality of the socio-cultural and organisational contexts in which they are located. The construction of products designed for interaction from social platforms is undertaken under the principles of content adaptation, interrelation in time and space, and uninterrupted connection (Matzler et al., 2015).

1.1. Users of the Digital Ecosystem of Colombia

In the digital landscape, the sound industry is beginning to identify the interests and preferences of a target audience that approaches audio listening on various platforms. This paper sets out an operational effort to capture the attention of young people, i.e., subjects who identify with a sound product that uses clear, objective, and neutral language, and corresponds to the conventional characteristics of structure and format of the content. This approach is in accordance with the findings of Terol Bolinches et al. (2021). Colombia has been characterised by its sound culture (Gutiérrez-García & Barrios-Rubio, 2021) (Figure 1), with radio having a penetration rate of 77% of the population (ECAR, 2024), making it the second largest consumer sector in the media diet of citizens after television. In 2024, the sound map comprised 1735 radio stations, 81.3% of which were broadcasting on FM and 18.7% on AM (MINTIC, 2024). In addition to this, the streaming and growing portfolio of content aggregator platforms, such as Spotify and Apple, incorporate digital proposals from various public and private sectors, audiobooks, and podcasts, thereby signifying a substantial increase in the variety of content available (Barrios-Rubio, 2025). The dissemination of communicative proposals in audio from the airwaves, which, by the end of 2023, had already reached an audience range of 24% in people between 12 and 24 years of age, is indicative of a significant demographic shift in Colombia’s radio listening habits. This indicates that one in four radio listeners is under 25 years of age in Colombia (ECAR, 2023).

In contrast to the scepticism expressed by both experts and non-experts (Balsebre-Torroja et al., 2023), audio content on radio has been reported to have undergone an 8% annual increase. The four most popular talk radio stations have added more than 3.4 million listeners, while the three most listened-to music stations have added over 9.9 million listeners (ECAR, 2024). The listening phenomenon is not only paying dividends on air, as streaming radio listeners have gained ground, representing a 15% growth, while podcasts are a format that is gradually gaining popularity, with a 44% increase in listeners by the end of December 2023 (Statista, 2023). The consumption of audiobooks in Colombia has witnessed a substantial surge, propelled by the proliferation of digital platforms and the enhancement of internet connectivity. However, specific data pertaining to the year 2024 remain unavailable. In the context of a digital scenario, it is noteworthy that at the beginning of 2024, there were 77.02 million active mobile cellular connections in Colombia, representing 147.5% of the total population. This is indicative of a significant proliferation of mobile connectivity. Furthermore, the country’s internet user base stood at 39.51 million, achieving a penetration rate of 75.7%, underscoring the rapid advancements in digital infrastructure and adoption. In the technological environment under consideration, Colombia had 36.70 million social network users, equivalent to 70.3% of the total population (Kemp, 2024).

The convergence of the analogue and digital scenarios has brought to the forefront the current state of the sound market and emerging trends in audience consumption (Harliantara et al., 2025). A triangulation of scenarios (antenna, digital platforms, and social networks) has been carried out to diversify the entry points to the communicative proposals in audio format. This has facilitated the identification of the current state and future projections, which will provide the framework for action in the medium and long term. The study ‘Media consumption and digital appropriation in the silver economy’ (CNC, 2025) has been able to delineate the contemporary relationship between radio, music, social networks, and digital platforms. This is particularly salient in the context of Colombia’s ongoing demographic transition, marked by an ageing population and evolving consumption patterns. The average duration for which the population spends connected to the internet for various activities is 8 h and 43 min per day. A recent study by Kemp (2024) found that adults and young people spent an average of 3 h and 27 min a day watching television (broadcast or streaming), 3 h and 23 min a day using social networks, 1 h and 28 min a day reading online news or print media, 1 h and 47 min a day listening to music via streaming services, 1 h and 8 min a day listening to the radio, 59 min a day listening to podcasts, and 55 min a day playing console video games.

The convergence of analogue and digital technologies has become a nexus for information, leisure, and entertainment activities across diverse generations (Díaz-Sarmiento et al., 2017). The cohort of individuals born prior to 1964, often referred to as ‘Baby Boomers’, have become increasingly familiar with the utilisation of the internet and social networks in their daily lives, albeit with limited frequency and intensity. Individuals born between the mid-1960s and early 1980s, categorised as ‘Generation X’, have exhibited a capacity to adapt to technological advancements, learn to utilise technology, and integrate it into their lives for professional purposes, communication, and entertainment. However, the intensity and frequency at which they engage with technology may not be as high as that observed among the Millennials or the Centennials. Millennials, born between 1981 and 1996, have accumulated a greater number of years of experience, a higher number of minutes per session, and a greater number of interactions per day. They are experts in internet, mobile, and streaming platforms. Centennials, now aged between 12 and 27, are digital natives for whom technology and the internet are ubiquitous and an integral part of their lives. Finally, Alphas, born since 2010, are a potential audience that is fully immersed in the digital world from birth. This genealogy of users differentiates between those who are thoroughly integrated into the digital environment and those who have only minimally incorporated it, or have not fully incorporated it, into their daily lives. It also serves to delineate the appropriation, utilisation, and consumption of the products that circulate on the network.

The internet has become an integral component of daily life, wherein the ability to connect is no longer a matter of choice, but rather an inherent aspect of existence. Consequently, the utilisation of mobile and technological devices has become deeply entrenched in the fabric of society. This encompasses a wide range of devices, including mobile phones of various types (98.8%), smartphones (98.5%), mobile phones devoid of ‘smart’ features (12.1%), laptops or desktop computers (66.4%), tablets (27.3%), video game consoles (24.5%), smart watches (26.3%), TV streaming devices (18.6%), smart home devices (11.5%), and virtual reality devices (4.6%) (Branch, 2024). Text, audio, and video are used for the purpose of facilitating interaction, and communicative products are designed to capture the attention of citizens from diverse connection points. In the contemporary context, the smartphone has emerged as the preeminent hub for consumption, while social networks have become conduits for accessing information, leisure activities, and entertainment (Kemp, 2024). The utilisation of social networks saw a surge of 9.6%, with 3.2 million individuals adopting these platforms between early 2023 and 2024. This development has led to an increase in the total number of active users on digital platforms to 36.70 million. This represents a significant proportion of the population, with 70.3% of the total population and 94.1% of individuals above the age of 18 years being active users (Kemp, 2024).

In Colombia, the most widely utilised social networks are WhatsApp (92.2%), Facebook (89.2%), Instagram (86.7%), Messenger (68.2%), and TikTok (67.8%) (Kemp, 2024). A meeting point with audio, video, and news has been identified, with Baby Boomers preferring WhatsApp and Facebook; Generation X leaning towards Facebook, YouTube, and WhatsApp; Millennials spending a lot of time on Facebook and WhatsApp, with increasing use of Instagram; and Centennials spending more time daily on networks, especially Instagram, TikTok, and YouTube (CNC, 2025). The contemporary landscape of media consumption is characterised by the predominance of streaming platforms such as Netflix, HBO Max, Disney+, YouTube, Spotify, and TikTok. These platforms have undergone a significant transformation, reshaping the ways in which individuals access digitally native content, including streaming radio. The concept of on-demand audio and video product offerings signifies the provision of content that is accessible upon user request, enabling the viewer or listener to select the desired media to view or listen to, and the time at which this is to be viewed or listened to (Terol Bolinches et al., 2021). The prevalence of on-demand audio streaming services such as Spotify, YouTube Music, and Deezer among young people is a salient phenomenon that merits attention. These services are garnering significant popularity, eclipsing traditional linear radio formats in terms of appeal and relevance to this demographic. Music consumption is pervasive on YouTube and Spotify, with the former being predominantly utilised by individuals aged 45 and above, and the latter being favoured by those between the ages of 12 and 27. The present study explores the growing influence of streaming platforms among individuals under the age of 45, with a particular focus on the complete displacement of traditional formats such as linear radio by Millennials and Centennials.

1.2. The Sonosphere of Colombia

A focus on the diet of sound consumption necessitates an examination of the various audio formats that are of relevance to Colombians. A recent study by the CNC (2025) revealed the following distribution of daily listening habits: AM/FM radio (37%); on-demand digital music apps (37%); podcasts (12%); own music, stored on CD, vinyl, cassette, or digital files (10%); delayed radio (5%), programmes previously broadcast and listened to online; and audiobooks (3%). A variety of sound content is accessible through different channels, with the specific content available depending on factors such as the listener’s age, the time of day, the location, and the activity being undertaken. Music remains the most appealing sound element for the general public, with content being consumed via platforms such as YouTube or Spotify in various domestic and professional settings, including vehicles, workspaces, and during physical exercise. The prevalence of mobile phones and the continued utilisation of car radios underscores the versatility of these media for accessing music. In the evolving technological landscape, traditional radio is undergoing a period of transition. While 59% of Colombian households still possess at least one device capable of tuning in to AM/FM stations, the audience is becoming increasingly fragmented and is declining in size. The age demographics of the audience are as follows: 12–27 years old (29%), 28–44 years old (39%), and 60–78 years old (18%). In the 78+ age group, the proportion of individuals who can be defined as active listeners is only 10%.

The radio medium maintains its relevance among middle-aged and older adults, but is losing presence among the new generations. In order to connect with younger audiences, it must renew itself and adapt to new formats. The ‘Alphas’, ‘Centennials’, and ‘Millennials’ are increasingly utilising smartphones for audio consumption, while smart speakers are also gaining prominence, as evidenced by the CNC (2025). The study revealed that 14% of respondents already possess a smart speaker in their home, with an additional 84% having used it within the past month, primarily for music playback or to listen to spoken content. The consumption of radio has transitioned from a synchronous, live product to a more asynchronous, layered experience. This shift is particularly evident among younger demographics, who now access radio content through a variety of digital platforms, including podcasts. The consumption of audio media has become a multi-platform, multi-generational, and multi-purpose phenomenon (Sánchez-García & Amoedo-Casais, 2022). In this context, radio competes with other sound elements for the attention of listeners. In order to comprehend the concept of the sonosphere (Morris, 2011; Bonini, 2014), it is imperative to recognise that the radio medium is procuring space through various avenues, including streaming platforms, social networks, podcasts, smart assistants, and audiobooks. These have been progressively emerging as a preferred option for individuals who wish to ‘read with their ears’. Concurrently, physical formats such as CDs, vinyl, and cassettes persist as niche products among music aficionados and older demographics. These have been progressively emerging as a preferred option for individuals who wish to ‘read with their ears’. Concurrently, physical formats such as CDs, vinyl, and cassettes persist as niche products among music aficionados and older demographics.

In the digital ecosystem, Colombia has already reported 17.88 million audio users (GroupM, 2025). The consumption of online radio, streaming audio, and podcasts continues to gain traction among younger consumers. As reported by Spotify (2024), there has been a considerable increase in the consumption of podcasts in Colombia. Indeed, there has been a 300% increase in the production of these audio files since 2020. This period of growth is evidenced by an increase in the number of users consuming digital audio, as well as the diversification of content, including local voices that were not so prevalent in the past. Podcasts have evolved from a passing trend to a prevalent form of media consumption, particularly among adults aged 28–60. According to the CNC (2025), 61% of individuals have listened to a podcast in the past week, 57% have listened one in the last month, and 30% have listened to one at some point in their lives. The nation finds itself at the vanguard of a flourishing sector that is indicative of the ongoing digital transformation, as well as the remarkable capacity of its creators to engage with both domestic and international audiences. Consequently, Colombia has been ranked fourth in Latin America among countries that have witnessed an increase in video podcast consumption in 2024.

Mobility represents a key advantage for audio consumption, which explains why cars and public transport continue to represent the primary bastions of sound consumption. The transistor radio (80%) remains the predominant listening medium, while Internet Apps (20%), CD’s/MP3 (13.33%), Android Auto (6.67%), Apple CarPlay (6.67%), and podcasts (6.67%) are already demonstrating significant interest (CNC, 2025). This paper sets out a scenario of reconversion that requires the identification and understanding of new platforms, as well as an analysis of listener behaviour according to age, device, time, and context. The aim is to provide a comprehensive understanding of the current state of the sonosphere in a specific context, namely Colombia. The project presented here is part of a comprehensive study of the digital audio industry in Colombia. This includes an examination of agents, content, consumption habits, professional profiles, and distribution strategies. The objective of this research is to delimit the cultural industry of digital audio in Colombia in order to recognise and assess the dimension of this new market. The following strategic points are proposed: firstly, an analysis and categorisation of the podcast offer in Colombia; secondly, a recognition of the interests, preferences, and digital audio consumption habits of the population in Colombia; and thirdly, an analysis of the cultural industry of digital audio in Colombia from a gender and intersectionality perspective.

2. Methodology

The objective of this study is to undertake a content analysis. In accordance with counterpart research in Spain, Argentina, Chile, and Mexico, an exhaustive investigation of the digital audio industry was conducted. This investigation covered agents, content, consumption habits, professional profiles, and literacy strategies. The research was based on the hypothesis that ‘the podcast is the revitalisation of sound in the audience’s content menu in the digital scenario’. The approach presented here called to set three sub-questions of research with the aim of ratifying or refuting the following statement: what is the production of content, convergent and divergent, of the agents producing podcasts in Colombia? What are the theme and genre tendencies exhibited by podcast actors in their content strategy? And what are the prevailing marketing and distribution trends that are being advocated to achieve recognition in the podcast market in Colombia?

The study corpus consisted of 160 podcasts with titles published on audio platforms, by production companies, radio stations, other media outlets, and independent podcasters in Colombia between 1 January and 31 December 2024 (Figure 2). The analysis focused exclusively on native podcasts, which are defined as programmes created and broadcast for on-demand consumption (Barrios-Rubio & Reyes Espitia, 2024). Programmes that were initially broadcast on the radio and subsequently distributed as podcasts were excluded from the study. However, premieres of new productions and second (or successive) seasons of narrative series and conversational podcasts released in previous years were considered. In the production company, radio, and other media categories, only entities that broadcast a minimum of three titles (originals or second seasons of previous series or programmes) in 2024 were considered. In light of the prevailing questions concerning the algorithmic rankings employed by platforms to structure their automated recommendations of content to users (Bonini & Trere, 2024; Gov.UK, 2023), and the potential for over time for these algorithms to distort classification (Paisana et al., 2024), which can be constituted as a limitation in sample selection, the present study has been undertaken. For the purposes of this research, the top 25 most voted titles in Spotify’s most recent annual Top 100 within the independent creator category were selected and analysed. The selected entities cover a wide range of services, including multi-format catalogues (music and podcasts; podcasts and audiobooks; podcasts and on-demand radio), podcast-only platforms, and production companies that distribute content across multiple formats. While the ownership structure or publishing nature of the operators does not determine their original output, the report identifies their profile according to the themes and genres most prevalent in their repositories.

It is imperative to elucidate that the sample (Figure 2) encompasses radio stations (Roka Stereo, Munera Eatsman Radio) and other media (Radio Ambulante, El Heraldo, El Colombiano) with one or two products that have been featured in Spotify’s annual Top 100. In addition, Pía Podcast and Bumbox, which are independent business units of WV Radio and Blu Radio, respectively, dedicated to the production of podcasts for their media conglomerates, are shown as producers. The present study analyses the offer of an industry that is growing in creative and commercial relevance, as well as in social and cultural influence. The titles were categorised on the basis of 25 variables grouped into three blocks (see Figure 3). In order to accurately assess the real state of the sector, it is necessary to know the data on each agent, the listenership of each title, and the form of financing in the process. However, the only parameters that can be measured externally in this chain are the content catalogues of each platform. These allow the establishment of their distinctive sound identities, as well as the themes, genres, and strategies that they consider most effective according to their respective scopes. In the podcast market, the actors involved—‘creators, producers, distributors, and marketers’—in Colombia do not have homogeneous criteria when it comes to cataloguing content, which makes it difficult to recognise the offer and the user’s choice. Each platform uses different taxonomies and terms to categorise their titles, a practice that does not facilitate localisation and consumption (Pérez-Alaejos et al., 2022).

This research project employed a mixed methodology, making use of value frequencies and quantitative repetition, the significance of which increased with the qualitative analysis of the facts (Mendizábal, 2018). This approach combines quantitative and qualitative methods within a single study to achieve a more comprehensive and in-depth understanding of the analysed phenomenon. Integrating both perspectives aims to leverage their respective strengths and offset their weaknesses (Sutton, 2013). This integration enables a more comprehensive and detailed approach to the complexity of a phenomenon such as the one studied here. This work used a qualitative documentary approach to collect and select the sample and a quantitative approach to systematise the data using an analysis sheet.

In order to guarantee the reliability of the coding system used, a double coding process was carried out on a sample of 20% of the total corpus analysed. The sample was selected at random and independently of the main researcher, and was subsequently coded by two students, research assistants who had been trained under the same criteria, and categories as defined in the coding manual. In order to assess the level of agreement between the coders, Krippendorff’s Alpha reliability coefficient was applied, which yielded a value of α = [0.94]. This indicates a high level of reliability in the application of the categories of analysis (Krippendorff, 2018). This approach was adopted to ensure that the analysis instrument utilised exhibited adequate internal consistency and that the categories employed were sufficiently replicable across different coders. Furthermore, review sessions were conducted among the coders to discuss potential discrepancies and refine the interpretation of the categories, thereby reinforcing the validity and reliability of the analysis.

The instrument was used as a systematic tool to examine and document the performance and behaviour of podcasts on digital platforms. It facilitated the collection of information about production, content, and distribution (Nova, 2022). A total of 160 original titles (5692 episodes) released in 2024 by audio platforms (0%), production companies (82), radio stations (25), other media outlets (28), and independent podcasters (25) were processed through the analysis sheets. To analyse the work, valid criteria were established to categorise the podcast offer. To reduce the amount of information relating to all the units of analysis, criteria of similarity and difference were sought (Cisterna Cabrera, 2005): (1) production; (2) content; and (3) distribution (see

Table 1. Analysis matrix.

Block 1 Production
No.	Variable	Category
1	Country	Colombia
2	Title of the podcast
3	Type of entity	1 = Platform 2 = Production company 3 = Radio	4 = Other Media 5 = Independent 6 = Others
4	Name of the entity
	Is it a co-production?	1 = No 2 = Yes (Indicate name)
5	Production management	1 = Male 2 = Female 3 = Both 4 = Not stated
6	Main voice	1 = Male 2 = Female 3 = Both 4 = Choral cast
7	Launch type	1 = New 2 = New season 3 = Always on
8	Number of episodes
9	Total length (minutes)
10	Average duration per episode
Block 2 Content
11	Thematic	1 = Information and current affairs 2 = True crime 3 = Leisure and entertainment 4 = Culture, education and society 5 = Health/physical or mental wellbeing 6 = Lifestyles 7 = Comedy and humour	8 = Economics and business 9 = Technology 10 = Sports 11 = Music 12 = Children’s 13 = Fiction 14 = Feminism
12	Gender	1 = Conversational 2 = Narrative non-fiction 3 = Narrative fiction
13	Conversational genre	1 = Interview 2 = Colloquium/talk show 3 = Monologue
14	Narrative non-fiction	1 = Reportage 2 = Documentary 3 = True crime 4 = Essay	5 = Daily news 6 = Personal development 7 = Audio article 8 = Other
15	Narrative fiction (Format and style)	1 = Audioseries 2 = Audio film 3 = Literary adaptation 4 = Audiorelato	5 = Audio theatre 6 = Audio drama 7 = Other Which?
		1 = Drama 2 = Comedy 3 = Science fiction 4 = Romance 5 = Thriller	6 = Horror 7 = Adventure 8 = Musical 9 = Other
Block 3 Distribution
16	Access	1 = Open on several platforms 2 = Open on producer platform 3 = Paid for
17	Timing of publication	1 = Patterned (has frequency) 2 = Unique
18	Podcast frequency	1 = Daily 2 = 2–3 times/week 3 = Weekly 4 = Bi-weekly	5 = Monthly 6 = Bimonthly 7 = Irregular
19	It has video	1 = Yes, video and audio 2 = Yes, video only 3 = No, audio only
	Platforms where the video is published	1 = YouTube 2 = Spotify	3 = TV platform/channel 4 = Other
	Features of the video	1 = Audio only with picture/audiogram 2 = Podcast recording 3 = Editing with real/animated picture
20	Explicit content warning or age recommendation	1 = Not included 2 = Visual 3 = Sonora 4 = Both
21	Funding	1 = Commercial advertising 2 = Public funding (grant, contract, institutional funding) 3 = User contributions 4 = Not stated
22	Advertising formula	1 = Branded content 2 = Sponsorship 3 = Mention	4 = Programmatic advertising 5 = Others
23	Sectors involved in marketing and/or distribution	1 = Food 2 = Automotive/Automotive 3 = Beauty and Hygiene 4 = Publishing 5 = Education 6 = Energy 7 = Entertainment 8 = Finance	9 = Home 10 = Institutions/NGOs 11 = Personal Branding 12 = Health 13 = Telecommunications 14 = Tourism 15 = Others 16 = Miscellaneous
	Number of advertisers/brands
24	There is descriptive data about the podcast in the app/browser.	1 = Yes	2 = No
25	Sound credits	1 = Yes	2 = No

). This categorisation facilitated the systematisation of categories and heuristic variables for analysis (Rojas, 2010), i.e., those with significant and relevant information for the study. Detecting categories derived from the data allowed a matrix to be created with 25 variables and 20 sub-variables addressing the aforementioned three blocks. Using these variables, a taxonomy of Spanish-language podcasts has been defined that considers seriality, duration, topics, genres, and dissemination and commercialisation models, among other indicators.

The categories set out in Table 1 enable the information to be structured for analysis of the podcasts. This enables a comparative analysis to be conducted, which is useful for identifying the most effective strategies in different contexts. To ensure the rigour of the study, the researchers contacted the relevant platforms, media outlets, and production companies to confirm that the analysed titles fully met the sample criteria, i.e., that they were podcasts released for the first time or that they were new episodes of existing podcasts released between 1 January and 31 December 2024. Some references that did not fit this criterion were discarded from the listings, either because of the release date (prior to 1 January 2024) or because they did not correspond to original titles from the platform that had provided the listing.

3. Results

3.1. Producing Content Designed to Align with the Sonosphere of the User

The content map of the digital soundsphere reveals that the sound cultural identity of Colombians is deeply rooted in the different generations, with a strong connection to music and a wide range of leisure and entertainment. This phenomenon is further compounded by the increasing consumption of informative content, which is now readily available in the form of podcasts. The sample of 160 titles that forms the basis of this research (Figure 4) shows an already consolidated market, with 48.1% new seasons, 46.9% premieres, and 5% Always On. It is imperative to elucidate that a significant proportion of the new seasons could be classified as continuous broadcast podcasts. However, the producers of these podcasts do not explicitly state this in the broadcast product. The 2024 premieres were produced by production companies (19.4%), ahead of radio (11.3%) and well behind other media (8.8%) and independent podcasters (7.5%). The sound map demonstrates that production companies have consolidated their business model, which suggests that they are the most prolific investors in new seasons (31.9%). This is not the case for radio, which only provides continuity for 3.8% of its output. Independent podcasters (6.9%) and other media (5.6%), which are scheduled to release their products in 2024, are set to enter the dynamics of the sound market in the digital scenario. It is noteworthy that production companies are not committed to continuous broadcasting, a line of action led by other media (3.1%) and podcasters (1.3%), but executed only minimally by radio (0.6%).

A thorough examination of the study corpus discloses that the producing agents—specifically, ‘production companies, radio stations, other media and independent podcasters’—evince a discernible predilection for self-employment. A mere 26.9% of the podcasts analysed are part of a co-production. A more thorough investigation of this phenomenon reveals that the convergence of interests is predominantly driven by production companies (20.6%), far behind radio broadcasters (3.1%) or independent podcasters (2.5%). A similar tendency is observed in other media entities, with 0.7% of them also demonstrating a preference for independent production. This suggests a broader trend towards self-sufficiency in content creation. This phenomenon appears to be consistent, with 15% of 2024 pitches, 11.3% of new seasons, and 0.6% of Always On reporting working with strategic partners. The podcast’s broad range of content indicates a production designed for audiences of various generations, including ‘Baby Boomers, Generation X, Millennials, Centennials, and Alphas’, whilst simultaneously appealing to audiences from both urban and rural areas, irrespective of their educational attainment or socio-economic status.

The 160 titles are distributed across 5692 episodes, with an average duration of 32 min and 3 s. The 3957 h, 49 min, and 28 s of sound material produced in 2024, which formed part of the corpus of this study, show that production companies account for 50.9% of production, other media for 16.6%, and radio for 5.7%. A significant proportion of podcast content is produced by independent creators, constituting 26.8% of the total airtime allocated on podcast platforms. A review of the average length of episodes reveals that production companies, as well as radio and other media outlets, opt for broadcasts of 26 to 30 min, adjusted to the production of media schemes and their programming schedules. It is noteworthy that the majority of the proposals from these entities are in excess of 10 min. Independent podcasters demonstrate a lack of knowledge regarding audience attention levels on screen devices and a lack of training in production schemes when bringing to the digital stage products that average 48 min and 15 s.

The content production analysis calls into question the fact that 33.8% of podcasts do not explicitly disclose the identity of the director, a problem that is more prevalent in production companies (18.1%) and other media (10.0%). The weight accorded to the director, in those who do disclose this detail, favours males (35.6%) over females (30.0%). A mere 0.6% of podcasts listened to indicated that this position is shared between men and women. It is important to note that it is in production companies (17.5%) and independent podcasters (9.4%) that women outnumber men in the management ranks. The findings reveal that the composition of the management ranks mirrors that of the leading voices, with males (41.9%) predominating at the highest levels, closely followed by females (37.5%). A convergence of the two is present in 13.8% of the podcasts, and in terms of the type of sound proposal brought to the market, 6.9% of the elements analysed show a choral distribution in which no main voice can be distinguished. As with direction, women are overrepresented in production companies (21.9%) and independent podcasts (8.8%) in main voice for sound content. It is important to highlight that male directors opt for male leadership in a higher proportion, whereas female directors tend to choose female leadership.

3.2. The Incorporation of Content Originating from Colombia into the Digital Sonosphere

The analysis of the Colombian sonosphere demonstrates that podcast producers have adapted to the productive routines of the digital network and are oriented towards satisfying and attending to the needs of the public. The concept of availability is integral to the notion of sound; it is positioned on platforms and content aggregators so that it is accessible at any time or place and on any device. The information, leisure, and entertainment options face a wide repertoire of services offered in the classification taxonomies proposed by Spotify, Apple, and other market participants. The following categories constituted the highest proportion of content produced in the first block: culture, education, and society (26.3%); journalism ‘information and current affairs’ (19.4%); economy and business (10.6%); and leisure and entertainment (10.0%). In the second block, the following categories are represented: health/physical (6.3%), sports (5.6%), true crime (4.4%), and lifestyles (2.5%). The third category, which is entitled ‘comedy and humour’, accounts for 1.9% of the total. This is followed by ‘technology’ (1.3%), ‘feminism’ (1.3%), and ‘fiction’ (0.6%). Surprisingly, the sample options do not include music and children’s podcast content. It is imperative to emphasise that the classification proposed by the platforms is narrow for 10.0% of the study corpus. The following subjects were included in the ‘Other’ category: cinema, television, ecology, education, electric energy, history, personal stories, literature, nutrition, and video games.

The content aggregation scheme has been demonstrated to be associated with the type of producer (see Figure 5). Radio channels tend to concentrate their efforts on topics that align with the scheduling patterns of generalist radio programmes. Other media outlets concentrate on journalistic practice and the content disseminated through print media. Independent podcasters develop their work on issues of the citizens’ agenda and elements of everyday life. Given that the majority of content is produced by production companies (51.3%), the atomisation of topics is considered to be a natural consequence. In the Colombian production scheme, the conversational style prevails (73.8%), a phenomenon that is typical of the culture of the tropics. In the ranking, narrative non-fiction occupies second place, with a significant margin of 21.9% over narrative fiction, which received 4.4%. This finding suggests that narrative fiction has emerged as a preferred genre in audiovisual media products, reflecting a distinct cultural and temporal development. It is important to highlight that narrative non-fiction is a genre that is relevant to the 2024 releases, surpassing conversational podcasts by 8.7 percentage points. It is also noteworthy that the narrative fiction genre attracts the attention of production companies (2.5%) and radio (1.9%). In co-production, which is a smaller activity, conversational podcasts (20.0%) are the most conducive to working together.

The preponderance of the conversational genre signifies that the most prevalent sub-genres for the development of podcasts are the interview (30.0%) and the colloquium/tertulia (30.0%), a considerable distance from the monologue (13.8%). The interaction of subjects in the booth is conducive to the establishment of a dialogue, thereby fostering a connection between the listener and the evolution of the product. Within the domain of narrative non-fiction, the discursive construction exhibits a propensity towards sub-genres that bear a close resemblance to those found in journalism, namely documentary (9.4%) and reportage (6.3%). It is noteworthy that true crime (3.1%) and essay (2.5%) are of comparable importance. With regard to the question of sound content in narrative fiction, the sub-genres audio series (1.9%), audio novels (1.3%), audio films (0.6%), and audio stories (0.6%) are of significance. This final aspect demonstrates that audio fiction has not become established in Colombia as a commemoration of the radio soap operas that achieved such success in the 1960s and 1970s. The limited production of narrative fiction podcasts (4.4%) is predominantly concentrated in the comedy genre (2.5%), a category that is distinct from the genres adventure, science fiction, and horror, wherein each one accounts for 0.6%.

The provision of particular, wide-ranging, or specialised content, collated on the platforms, is intended to address the requirements of specific niche audiences, thereby providing a comprehensive overview of sound consumption patterns in Colombia. The analysis of the sample under consideration here allows for the contemplation of a wide range of podcasts in the digital sonosphere. These podcasts, it can be argued, have the capacity to entertain and to accompany entertainment and leisure activities. Furthermore, it can be demonstrated that these podcasts create a notion of reality through stories that rely on the credibility of celebrities, journalists, and traditional media brands or production independent agents. The menu of content offered to the public explores the diverse narrative opportunities offered by audio, while catering to the asynchronous listening that prevails on screen devices. The concept of timeless media, which is characterised by the notion of audience members having the ability to access audio in accordance with their own preferences with regard to place, time, and platform, breaks with the linearity of conventional media. The proliferation of content is a constant phenomenon, precipitating a paradigm shift in the conception of consumption. Podcasts are regarded as a technological manifestation of audio, a medium that facilitates effective storytelling, encompassing both informative and fictional content. These podcasts engender significant, novel, and captivating audio experiences.

3.3. The Paradigm of Podcast Distribution and Marketing

The smartphone has emerged as the epicentre of media content consumption, surpassing the use of desktops, laptops, and tablets. This shift delineates the lifecycle of communication products. The cultural industry is impacted in terms of distribution and marketing, a phenomenon that exalts the importance of the user and their attention rate as the centre of the offer and construction of podcasts. The concept of permanence, in conjunction with the notion of audience participation, is met with a plethora of stimuli designed to promote sustained engagement and adherence to seasonal transitions. The intersection of auditory experiences, encompassing the consumption of media such as series, films, and audiobooks, and the auditory aspects of the digital ecosystem presents a fascinating paradigm for exploration. The sheer volume of content has not yet allowed for the consolidation of a thematic offer that exploits the potential of sound in all its dimensions.

In accordance with the dynamics of freedom of access proposed by the digital ecosystem, it has been determined that podcasts brought to the market by Colombian content creators are open access in 91.9% of cases, with only 8.1% being restricted to direct access from the producer’s platform. The limited access to the media is primarily attributed to the public radio broadcaster RTVC (6.9%) and the production company Naranja Media (1.3%). The publication scheme in the digital sonosphere has a time schedule for 81.3% of the products; only 18.7% of the products have a time schedule for serial delivery of the podcast in a single day. The high level of irregularity (35.6%) in publication, a phenomenon linked to the platforms (23.1%), is striking. The podcast is gradually establishing a culture of consumption, as evidenced by the significant proportion of products that are released on a weekly basis (25.6%). A mere 6.9% of podcasts listened to have a publication daily, while 4.4% opted for a frequency of two to three times per week. This latter group aligns closely with the traditional audience of conventional radio. A minority of podcasts (5.6%) opted for a discontinuous fortnightly scheme, while an even smaller percentage (0.6%) selected a bimonthly option. These schemes, it can be argued, do little to establish a connection with the audience.

The most salient element in the production of podcast content is sound, which is pivotal in creating the desired atmosphere. Indeed, this study revealed that 78.9% of the material listened to featured creators who successfully maintained the magic of the theatre of the imagination, centred on voice, music, effects, and silence. A mere 21.9% of the study corpus is accompanied by video, and only 1.3% focus their actions exclusively on video through YouTube Creators. It is important to note that none of the agents that restrict the podcast to access from the producer’s platform make use of video within their products. The preponderance of video hosting is primarily concentrated on prominent platforms such as YouTube and Spotify, accounting for 17.5% of the total. A mere 5.6% of podcasts listened to also incorporate video hosting on their proprietary video platforms or channels. A close examination of the various actors involved reveals that radio (0.6%) dedicates minimal attention to the audiovisual aspect of production. Conversely, it is the other media (6.9%) and the production companies (6.9%) that incorporate video in the narrative construction of their products, leveraging their operational competencies in this regard. However, it is noteworthy that the responsibility for creating an image for a sound product is shouldered by independent podcasters (8.8%), who capitalise on the pre-existing image of the celebrities incorporated into the podcast landscape.

The integration of video content is a response to the prevailing expectation amongst audiences of consuming media through screens, a practice that places a premium on visual elements over other components of communicative products. It is noteworthy that podcast producers have not yet exploited the potential of narrative resources to enhance their message, despite the fact that 22.5% of producers incorporate video, following the conventional approach of radio in its daily broadcasts. Only 0.6% of producers restrict their use of audio–visual media to the creation of an audiogram for dissemination on audiovisual platforms. A salient element that merits scrutiny by podcast content producers is the responsibility they bear for the content they produce, given that a mere 1.3%, one from a production company, issues a cautionary statement regarding explicit content or age restrictions. In Colombia, there is still no culture of regulating online content.

The phenomenon of podcasting in Colombia persists as a pursuit that is predominantly undertaken as a pastime rather than as a commercial enterprise. This observation is pivotal in elucidating the rationale behind the absence of any indication or evidence of financial backing in 70% of the corpus examined in this research study. A mere 16.9% of podcasts contained commercial advertising, 10.0% alluded to the subsidising of public resources, and 3.1% to crowdfunding. It is evident that public funding is concentrated in RTVC and one production company, La No Ficción, which collaborated with the Ministry of Culture to commemorate the centenary of the classic novel La Vorágine. It is important to note that the commercial advertising model has been adopted by a significant proportion of production companies (11.3%); this figure is considerably lower in radio (2.5%), podcasters (1.9%), and other media (1.3%). User contributions are predominantly received by production companies (1.9%), with podcasters (0.6%) and other media (0.6%) having a negligible share. The challenge for podcasters and production companies, in contrast to traditional media, lies in the distribution and technical production of the product. This development has prompted a shift in focus for podcast producers, as evidenced by the research presented here, which demonstrates the podcast’s capacity to attract commercial attention from diverse sectors. The following areas have been identified as relevant: food, gambling, beverages, family compensation funds, energy, entertainment, finance, institutions/NGOs, personal branding, health, telecommunications, and mechanics’ workshops.

It is important to highlight that Colombian podcast producers are concerned that the public should find complete information about the producers and description of the product and the chapter to be listened to in the App or browser. Only 1.3% of podcasts from the same production company do not provide this information. This is in contrast to the audio credits that the podcast product should contain in its audio content, with only 55.6% incorporating them and 44.4% not doing so. It is comprehensible that other media (8.1%) and radio (3.75%) do not do so because the product is associated with a consolidated media brand; however, it is noteworthy that production companies (23.8%) and podcasters (8.8%) do not pay attention to this detail, despite the fact that it has the capacity to generate impact and remain memorable in the viewer’s mind. It is noteworthy that this issue is present in 19.4% of the releases made in 2024. The logics of distribution and commercialisation employed in the Colombian podcast market are still in a state of relative immaturity. It is imperative that these logics are transformed in order to take into account the logics of the digital sonosphere and detach themselves from the nature of radio. The contemporary consumption agenda of citizens is inextricably linked to the utilisation of visualisation devices.

4. Discussion

As Barrios-Rubio (2021) explained, sound in Colombia continues to have an unprecedented relevance in the citizens’ consumption agenda. The podcast scene has gradually displaced radio as the predominant medium for sound content. External entities, including other media outlets, production companies, and independent podcasters, are increasingly discovering that prominent platforms such as Spotify, Apple, Ivoox, Pódimo, Amazon, YouTube Creators, and others in the market offer a viable avenue for the development of unconventional products that diverge from conventional logics. As demonstrated in the research by Pérez-Alaejos et al. (2022), an increase in both the number of individuals engaging with podcasts and the diversity of content available, both nationally and internationally, has been observed on an annual basis. The production environment of 2024 demonstrates the emergence of an online relationship between podcasts and their respective niche audiences, thereby ensuring temporal continuity for a diverse range of proposals from various agents. The voices, times, and contextual elements of the product begin to establish a commitment to the communicative content, which means that each year new sound products emerge from each of the actors in the Colombian podcasting ecosystem.

The process of producing and broadcasting podcasts in the digital sonosphere marks both convergences and divergences between radio and podcasting, primarily in terms of time marking. The fragmentation of content, the serialisation of narrative stories, and the compulsive search for content to attract the attention of listeners is not an easy task for audio platforms, production companies, radio stations, other media, and independent podcasters, as Terol Bolinches et al. (2021) point out. It is evident that the transition from the conventional radio model, which relied on technological mediation and the advent of digital platforms to disseminate audio content, has been a challenging process. Consequently, it is not unexpected that podcasts have adopted a similar production approach, often incorporating video elements, albeit within the confines of a radio studio setting. The generation of meaning and significance in the audience is predicated on the fundamental framework of radio language, comprising voice, music, effects, and silence. The semiotic model of the analogue medium continues to support a tripartition of factors for the construction of sound content, namely radio language, technical resources, and listeners’ radio perceptions. There is a paucity of innovation and exploitation of the resources of the digital scenario to provide listeners greater alternatives for auditory navigation in the digital sonosphere.

As Pérez-Alaejos et al. (2018) suggest, the podcast must become an attribute of interpretations and attitudes that brings together the message to be transmitted. The piece has yet to establish an emotional connotation that would enable the listener to identify with it and assist in its dissemination on the network. In the sample analysed, there was little evidence of an analogue–digital fusion, in which the fields of computer programming, graphic design, telematics, photography, audio and video production, website development and management, and the conception of social media strategies converge. It is posited that a dual helix of sound and other content will gain momentum and thereby facilitate a functional re-engineering of content and production agents, with the objective of successfully meeting the needs of the audience. In the digital environment, the podcast industry must evolve into an additional interpreter of society and collective knowledge, adopting the role of a transmedia agent and active narrator (Barrios-Rubio, 2025). This will encourage active listener participation and serve as a catalyst for communication and knowledge spaces in digital culture.

Contrary to the perspective put forward by Barrios-Rubio and Reyes Espitia (2024), the dissemination of content within the digital biosphere can no longer be constrained by conventional radio journalistic formats. It is imperative to adapt the content broadcast to align with the narrative and language of the network, thereby demystifying complex concepts to make them accessible and facilitating an environment of dialogue that is intrinsic to the situation. As Gutiérrez-García and Barrios-Rubio (2021) have observed, endeavours to surmount the apathy of younger demographics towards the content presented and traditional media already have a foothold in the digital domain through podcasts. This medium not only facilitates the utilisation and appropriation of existing products, but also fosters individual judgment and engagement in public discourse. The capture of attention by new audiences through visual statements can be considered a strategic point for the construction of a discourse that fits into a system that generates implicit iconic meanings. This expression and content generated new senses of interpreting what was happening in social reality. It is evident that prominent platforms such as Netflix and Disney+, among others, encourage the extension of productive industry routines to the auditory domain. These platforms facilitate the establishment of distinctive methods for reaching audiences and small groups of individuals who specialise in podcasts and sound microformats that disseminate through digital platforms (Pérez Tornero & Pedrero Esteban, 2020).

In the digital sonosphere, novel productive routines are adapted to the dynamics of smartphones, as well as the commitment to address issues related to the sphere of the citizen’s everyday life (Barrios-Rubio, 2025). The utilisation of technology is pivotal to enhancing the dissemination of the communicative product; however, it does not invariably translate into a more profound examination of the subject matter. The research presented here demonstrates that the production and interpretation of signs and rhetoric are beginning to denote solid criteria for selecting the most impactful strategies for the transmission of signs, images, and words in the development of podcasts. It is imperative to acknowledge the enduring nature of podcasts as a consumer product, and to recognise that audiences are perpetually seeking innovative content. In the contemporary sound ecosystem, audiences are demanding the creation of podcast sound alternatives that respond to contemporary communication needs (Balsebre-Torroja et al., 2023). The podcast narrative must be aligned with the logic of digital consumption rather than that of traditional radio narratives. This is due to the fact that audio products in the digital ecosystem are designed for niche audiences with higher demands, and not for the masses. Podcasting represents a contemporary trend within the domain of audio production, and it is not merely a future possibility. It is imperative that audio platforms, production companies, radio stations, other media outlets, and independent podcasters demonstrate resilience in adapting to the evolving demands and requirements of a digital environment where content is accessible at the click of a button.

5. Conclusions

In accordance with the market figures set out at the beginning of this report, podcasts are demonstrating consistent growth. Colombian sound culture maintains a line of production and consumption that is little different from the radio model. The transition of sound to the digital domain has garnered the attention of individuals across various generations, including ‘Baby Boomers, Generation X, Millennials, Centennials, and Alphas’. This transition is underpinned by convergent strategies characteristic of the sonosphere, where video is progressively assuming a central role. In the contemporary landscape of converging media platforms, Spotify and YouTube Creators are increasingly becoming dominant entities, where audiovisual content is gaining significant prominence. This shift is driven by the evolving demands of an audience seeking a diverse array of information, entertainment, and promotional content through screen-based devices. Consequently, the following subjects are beginning to assume primacy: culture, education, and society; journalism (information and current affairs); the economy and business; and leisure and entertainment.

In the selection of the study corpus, it was observed that the market is saturated with national and international podcast content. However, a contrast of the Spotify Top 100 listings reveals that the audience is beginning to be selective and gives relevance to products that show a contribution of value, sound proposals that are accompanied by a professional production, and those podcasts that demonstrate constancy and have lasted from previous seasons. It is evident that sound content creators have yet to adapt to the consumption patterns that prevail in the digital ecosystem, and that multimedia expansion remains an aspect that requires further attention. The sustained growth of podcasting in Colombia has created a significant opportunity for content creators to address the needs of an increasingly discerning and specialised audience.

The agents responsible for producing podcasts in Colombia demonstrate a commendable capacity to address a diverse array of subjects, encompassing both convergent and divergent propositions. These podcasts, which are informed by personal experiences, social issues, and intimate subjects pertinent to the citizen’s personal sphere, have been shown to garner significant attention from their listeners. This is a scenario in which the written journalistic media establish a connection with their audience through podcasts. It is evident that a considerable number of individuals embark on a journey of exploration, navigating the vast expanse of a sonorous universe. In this exploration, they encounter communicative propositions that, regrettably, fall short of the microformats that are designed to cater to the varied levels of attention exhibited by subjects in the presence of digital devices. The atomisation of the offer signifies that the agents producing podcasts in Colombia are beginning to comprehend that, in the pursuit of a dominant digital presence, it is imperative to prioritise the consolidation of niche audiences with local, cultural, sexual, or generational affiliations.

The intimate dialogue with the listener continues to be a factor in the success of the sound product, which is why it is assumed as natural to find podcasts that resort to narrative developments accompanied by natural, personable voiceovers that are not accompanied by exaggerated production elements. Conversational products are characterised by the provision of informative details, the facilitation of education, and the presentation of testimonies from protagonists and experts who establish an emotional connection with the listener. In the context of podcasts, products that are characterised by an introduction, dramatic plot developments, and a conclusion that necessitates action are more likely to gain relevance, as are spaces that demystify the complex and manage to approach the citizen with simple and direct language.

The analysis conducted in this study indicates that podcast producers incorporate journalistic content into their content strategy, with a propensity to prioritise topics that maintain their relevance in the consumption agenda, while concurrently re-establishing prominence in novel narrative formats. The development of podcasts has given rise to a diverse array of content, encompassing interviews, talks, and discussions, which collectively serve to enhance the listener’s experience. The content offered on such platforms as Spotify, Apple, YouTube Creators, and other market alternatives is characterised by its diversity, flexibility, authenticity, and focus on well-defined niche audiences. The value proposition evolves as it connects with its audience, entertains them, and delivers value that fosters spiritual and mental growth.

It is evident that sound continues to represent the fundamental element of the product, despite the limited incorporation of video components in its development. Its utilisation is elementary and confined to the visualisation of events occurring within the broadcasting studio. It is evident that the proliferation of podcasts in Colombia is concomitant with the emergence of a vibrant community of creators, production companies, independent studios, and traditional media entities that have adopted podcasts as a salient form of communication. These agents have been instrumental in introducing and establishing a presence within the podcast landscape, particularly with regard to emerging content that exemplifies the technical, narrative, and strategic sophistication of their productions. In Colombia, both amateur and professional producers utilise platforms that are replete with sound design, original music, and hybrid formats (audio + video) that correspond to the communication strategies outlined by the producing agents. It is anticipated that, in the near future, an environment of experimentation will yield an emerging industry characterised by high creative potential as well as technological and narrative diversity. However, it is important to note that this industry will face the constant challenge of distinguishing itself in an environment that is becoming increasingly demanding with regard to quality and authenticity.

The marketing of podcasts is still in its infancy in Colombia, with no clear funding scheme in place. The prevailing marketing and distribution trends that are espoused as a means of achieving recognition in the podcast market underscore the pressing need for agents to comprehend that programmatic advertising strategies, branded content, premium episodes, and subscriptions must be cultivated to activate funding sources. It is important to consider the transition from an artisanal approach to a more structured, multi-platform, and professionalised process. The creation of sound proposals is therefore essential in order to establish a more intimate, segmented, and highly engaged channel through which to connect with audiences. The attainment of a profitable and sustainable business model will continue to present a challenge for independent podcasters and production companies. The business vision must encompass both real and unequal opportunities, thereby facilitating economic scaling without compromising authenticity or the connection with the listener.

In summary, the hypothesis that podcasts represent a revitalisation of auditory content within the digital landscape is substantiated. In the context of the Colombian market, there is an observable trend of increasing preference for sound content that caters to multitasking routines and mobility. This phenomenon can be interpreted as a sign of a shift in the role of sound as a medium for both information and entertainment. The professionalisation and thematic diversification of production is concomitant with radio agents who are now production companies, as well as with radio professionals who work as independent podcasters or set up their own production companies. The consolidation of sound narratives with technical and editorial quality standards serves to reinforce the position of audio as an attractive and reliable product for the digital consumer. The digital ecosystem has been demonstrated to enhance the reach of podcasts thanks to platforms such as Spotify, Apple, Ivoox, Podimo, and Amazon, as well as YouTube Creators, which facilitate the discovery of content. The utilisation of podcasts has been demonstrated to enhance the emotional connection with brands, media entities, and content creators. The process of monetisation and the establishment of sustainable business models remain ongoing challenges. The lack of sponsorships, subscriptions, and strategic alliances introduces complexities, thereby hindering the presence and permanence of entities within the contemporary media ecosystem. It is evident that the podcast has evolved into a significant component of the contemporary digital consumption landscape, demonstrating a capacity to adapt to the evolving dynamics, interests, and habits of its target audience.