PARIX Audio Day 2025: Quantity and Quality, the Dream Balance

In times of urgency and fast consumption, more than 250 professionals from the audio industry gathered at the professional event PARIX Audio Day, which took place on February 13 at the Casa del Lector in Madrid, to jointly reflect on the near future of a format that continues to grow worldwide.

The annual gathering, led by Luis González, General Director of Foundation Germán Sánchez Ruipérez, which includes Escuela Parix as one of its activities, and coordinated by Javier Celaya, founding partner of Dosdoce.com, featured more than 40 speakers from ten different countries in its second edition, establishing itself as one of the leading professional event in the European audio landscape.

The purpose of this meeting is to help publishing industry professionals learn about the latest international trends in the sector, discover best practices, train through learned lessons, and establish contacts for future business opportunities in the audio entertainment world, which today represents about $7 billion annually worldwide and is expected to grow by 25% per year over the next seven years, according to the report «Global Evolution of the Audiobook Industry,» published by the Frankfurt Book Fair.

The Consumption of Audio Content Keeps Growing Worldwide

Every new measurement of audio content consumption, whether audiobooks, podcasts, audio series, etc., reveals surprising growth results: more than half of adults in the United States have listened to at least one audiobook in the past year; in Sweden, 63% of books sold in 2024 were audio; in Germany, 82% of those over 16 consume streaming audio; in France, 31% of the population has listened to an audiobook at least once; and in Spain, 13% of people under 35 do so as well. Audio is growing, and the news is wonderful, but it also indicates that there is still a long way to go, requiring to get the attention of those who are not yet familiar with the format.

In this constantly evolving context, PARIX Audio Day is organized to encourage audio professionals, whether from publishing houses, production companies, platforms, libraries, etc., to better understand the format’s particularities, especially for younger listeners, and collectively consider how to reach potential listeners who have not yet discovered audio.

The day began with brief welcoming remarks from Chris Kenneally, who announced the launch of a new podcast, The Spoken World, which will analyze major international trends in the audio industry. This new podcast will include conversations with leading industry figures and market analysts from around the world, who will share their latest insights on the opportunities, challenges, and innovations transforming the fastest-growing segment in the publishing industry.

Additionally, The Spoken World will feature exclusive recordings and interviews from major book fairs and international conferences in London, Frankfurt, New York, and Madrid.

 

Three main cross-cutting themes

Throughout the morning’s discussions, three main cross-cutting themes were analyzed from different perspectives, which are summarized below:

1. The Importance of Expanding the Catalog

A repeated premise throughout the event was that the growth of the audio industry depends on increasing the availability of audio content. Naturally, the largest catalogs belong to the most consolidated markets: there are approximately 700,000 audiobooks in English and close to 200,000 in German. In contrast, in emerging markets such as French, Italian, Portuguese, or Spanish, catalogs, while growing steadily, remain limited. Currently, the Spanish-language audiobook market has about 35,000 titles, the French market 23,000, and the Italian market 17,000.

«Making more audiobooks available leads to more audiobooks being listened to. The more books you hear, the more books you will continue to listen to,» stated Amanda D’Acierno, Global President of PRH Audio. This assertion gains even more relevance in context: she represents one of the global publishers with the largest audio catalogs, with over 50,000 audiobooks, 30% of which have been produced in languages other than English, such as Spanish, German, Cantonese, and Mandarin, among others. Not content with this level of production, she indicated that PRH plans to produce about 5,000 more audiobooks in 2025 and another 6,000 in 2026. In other words, if someone with that size of catalog and annual investment states that one of the keys to industry growth is investing in larger catalogs, it is worth paying attention.

D’Acierno, with 22 years of experience in audio content production and commercialization, pointed out that in the audio industry there is a language, and territories overlap that publishers should closely take into consideration since it generates opportunities and potential growth areas beyond national borders. For example, she noted that in the United States, 22% of the population speaks languages other than English (half of them Spanish), creating potential «domestic» growth areas in global languages that are still underserved at the local level.

Another key catalog expansion strategy mentioned at the event involves the integration of artificial intelligence into various production processes, the design and production of children’s content, adaptation to more immersive audio formats, or the adaptation of content from other formats into audio, as well as the creation of «audio-first» content.

D’Acierno concluded her presentation by encouraging attendees to explore new production strategies enabled by AI, optimizing processes, costs, and delivery times without compromising quality. She emphasized the importance of human oversight in AI interactions and advocated for transparency in its use with listeners, a topic also raised by other speakers throughout the day. Before closing, D’Acierno strongly emphasized the importance of high-quality productions. She noted that the audiobook format differs from its traditional book counterpart: if a listener is disappointed with their first audiobook, they may conclude they dislike audiobooks altogether and never listen to another. In contrast, a reader disappointed with a book may simply move on to another title. «I encourage you to grow the audio industry through the quality of your productions. Good luck,» she concluded.

2. Betting on New Business and Audio Consumption Models

In parallel with the previous topic, the second major cross-cutting theme of the day was the need to create new distribution and consumption channels for audio content to attract new listeners. There is already a solid array of business models, such as unlimited subscription platforms, which allow users to access all available titles for a flat fee. Another existing model in several markets is the credit-based system, where users can access only one title per month, with the option to purchase additional content through tiered pricing plans.

Several of the speakers indicated that the industry must consider new sales channels such as whether it is feasible to incorporate a business model seen in audiovisual streaming markets, which allows advertising interruptions. In other words, a consumption model that would enable lower subscription fees to attract listeners willing to pay less in exchange for tolerating ads. In emerging audio markets, such as countries in Africa, a micropayment model is being tested, where listeners pay a small daily fee (25-euro cents per day), which has shown high audience retention. The discussion at the event revolved around whether this model should also be tested in other continents, such as Latin America and Asia, to attract people who may be reluctant to commit to a monthly subscription but might be willing to pay for daily access.

More mature markets, such as the Nordic countries—where audio penetration is significantly higher—can afford to experiment with more ambitious strategies, such as lifetime flat-rate subscriptions aimed at attracting new listeners such as High-School and University students.

3. Creating New Types of Audio Content

After addressing catalog expansion and new consumption models, the third major focus of the event was content creation, with an emphasis on developing multilingual catalogs tailored to diverse needs, in line with the varying rates of market development and the specific requirements of each country or language.

The discussion centered on which types of productions could not only expand the existing offer but also attract new audiences who have yet to adopt the audiobook format. In this context, the importance of adapting texts to the auditory medium was highlighted, which involves exploring more dynamic and immersive versions. Strategies mentioned included rewriting books and scripts to facilitate audio consumption, incorporating sound effects for a more immersive experience, narration by authors or well-known actors, and even creating audio versions of video series and other audiovisual documentaries.

Main topics analyzed at Parix Audio Day 2025

More than 15 topics were analyzed during the 8-hours long conference. The rest of this articles summarizes the main debates, data and insights shared in Madrid

The Multi-Format Dilemma: Podcast or Audiobook?

The person tasked with solving the great mystery of what is what—podcast or audiobook? (spoiler alert: there’s no need to differentiate them)—was Tom Webster, partner at Sounds Profitable, one of the leading newsletters in the audio industry.

With a highly engaging communication style, Tom analyzed the findings from the Podcast Landscape study by Sounds Profitable and Signal Hill Insights, revealing fascinating data such as the fact that 60% of audiobook listeners also listen to podcasts. What’s even more surprising, however, is the reverse statistic: nearly 20% of podcast listeners have started listening to audiobooks.

Webster thus underscored the growing importance of multi-format offerings provided by platforms like Spotify and Amazon Music, which feature audiobooks, podcasts, and music to create cross-platform listeners. The big challenge, however, is how to increase the visibility of audiobooks on platforms primarily dominated by music and podcasts.

Another key topic highlighted by Tom Webster was the growing use of video as a crucial strategy to expand the audience for audio content. He pointed out that social media, as well as video streaming platforms, will be essential in attracting new listeners. In other words, having a video strategy is critical for increasing the visibility of audiobooks and podcasts on audiovisual platforms like YouTube or TikTok to reach new audiences. Webster emphasized that incorporating video does not necessarily mean that all audio content must have a video version. Rather, he stressed the need to develop video-based strategies to promote audio content.

According to the study presented, 47% of video content consumers are under 24 years old, reinforcing the idea that platforms like YouTube have become key discovery points for younger audiences. Platforms like Spotify and Amazon Music have begun integrating video content into their audio offerings, allowing users to discover audiobooks and podcasts in a more interactive way. Additionally, social media platforms such as TikTok and Instagram have proven effective in promoting audio content through short clips and highlight snippets.

In summary, video is not a replacement for audio but rather a tool to amplify its reach. The key to the growth of the audiobook and podcast industry also lies in a well-defined strategy that leverages video’s potential to attract and retain listeners.

A Sound Journey Around the World in Four Languages

The panel, featuring Liza Faja (Director of Lizzie Audio – Editis), Videl Bar-Kar (Vice President of Audio at Bookwire), Raúl Pérez (Head of Digital at Grupo Planeta), and Carlo Carrenho (consultant), and moderated by Nathan Hull (CSO of Beat Technology), took participants on a journey aboard Jules Verne’s hot air balloon, offering a tour through five languages.

Liza Faja described the French-speaking market as a growing one: there are approximately seven million listeners, meaning that 31% of the population in France has listened to an audiobook at least once from the catalog of 23,000 available titles. The average listener is 42 years old, and more than half of them are men. Additionally, 62% of listeners prefer to enjoy audiobooks in the comfort of their homes.

A unique characteristic of the French market is that it is one of the first non-English-speaking regions to gain access to audiobooks through Spotify’s premium subscription. In this regard, Faja noted that the platform has added a multilingual catalog of 200,000 titles.

The audiobook market in the DACH region (Germany, Switzerland, and Austria) is the largest in Europe, valued at 300 million euros, with a catalog of 100,000 titles. With 90 million speakers, audio has a strong tradition in the region, encompassing audiobooks, radio dramas, and children’s audio content. In 2023, 46% of Germans had listened to audiobooks, radio dramas, or podcasts, and 82% of people over the age of 16 consumed audio via streaming. The market is well established, fostering strong competition among the multiple platforms operating in the space, which in turn drives innovation and high production standards.

The representative of the Spanish-speaking markets, Raúl Pérez, began by discussing the growth opportunities in a market of 600 million speakers—the fourth most spoken language in the world—which presents tremendous potential and has been experiencing remarkable double-digit annual growth since 2017. Just five years ago, less than 1% of the Spanish-speaking population listened to audiobooks, whereas in just half a decade, this figure has risen to 8% of the population, reaching 13% among those under 35.

He also pointed out that platforms such as Audible, Storytel, Podimo, etc. have contributed to expanding the catalog. However, other major platforms like Spotify and Amazon Music, among others, have yet to distribute audiobooks in Spanish-speaking markets. Additionally, he highlighted that 74% of Grupo Planeta’s digital book sales in the United States—despite the company being based in Spain—come from audio, further demonstrating how well audio content travels across global markets.

He concluded by reflecting that, despite the progress, the sector still faces challenges such as low revenue per listen on flat-rate subscription platforms compared to other business models, the complexity of acquiring global rights for audio formats, and the need to improve the visibility of audio content in environments dominated by platforms like YouTube.

Carlo Carrenho, in turn, infused his presentation with humor to discuss the state of the market in the Nordic countries, incorporating industry data along with unconventional variables such as the number of moose, wild salmon, and famous football players (which, notably, is far lower than the number of audiobook listeners). His remarks brought smiles to the audience, who had spent the morning immersed in figures and statistics. He began with Sweden, where 92% of digital book sales revenue comes from audio, 63% of books sold in 2024 were audiobooks, and 82% of digital users prefer fiction.

This was followed by the equally dynamic Danish market, where in 2023, audio accounted for 70% of digital revenue, and nearly half of all fiction books sold were digital. In Norway, meanwhile, 52% of books sold by members of the Norwegian Publishers Association were audiobooks. A similar trend can be observed in Finland, where audiobook sales in 2024 generated 27.3% of annual publisher revenues, with fiction being the most popular genre, representing 64% of total sales.

Creation of Multilingual Audio Catalogs

Miles Stevens-Horace, director of RB Media International—one of the largest audiobook publishers in the world, with over 80,000 titles in various languages—highlighted that its thirteen audiobook-focused imprints publish an average of 9,000 titles annually, underscoring the company’s strong commitment to this format on a global scale.

RBmedia not only distributes its catalog in English-speaking markets but also sells its audiobooks globally, as approximately 10% of audiobook listeners in non-English-speaking markets consume them in English. In a conversation with Mariana Féged, CEO of Bookwire, he encouraged attendees to explore different markets (languages) and formats: “All markets need more content,” he emphasized.

Miles explained that their approach to the creation of a multilingual catalog is twofold: acquiring global rights of specific titles in different languages, but also with the production original published simultaneously in multiple languages, incorporating extra-linguistic adaptations that go beyond mere direct translation. For these processes, they use artificial intelligence. However, like other speakers at the event, Miles Stevens-Horace took the time to clarify the importance of human involvement at both the beginning and the end of all production processes.

Creating Readers: Children First

One of the key drivers behind the impressive growth of the children’s audiobook category is the emergence of audio content listening devices (such as Yoto, Tonies, MyCube Histories, etc.), which allow young children to access their audiobooks without the need for adult mediation. According to the recent Audiobook Global Growth Report, published by the Frankfurt Book Fair, children’s audio content consumption currently accounts for around 3% of total listens in English-speaking markets.

In the panel dedicated to analyzing this new audio category, coordinated by Juliana Rueda, Project Lead at Smallwardour, Kiyeun Baek, Head of Content at Yoto, shared a study revealing that one in two children reported enjoying listening to stories. Unlike adult content, children’s audio content is also designed with a tangible aspect in mind. Each book-card features its own illustration, sometimes matching the book cover and other times belonging to an independent audio-first product, specifically created to be listened to rather than read by young audiences.

There is clear potential within the children’s audience, which, according to Stephanie Simonin, Director of Audio at Bayard, requires a tailored marketing strategy. It is important for children’s audiobooks to be available on all streaming platforms—after all, that is where the adults who make decisions for children are. But it is also crucial to be present in specialized sales channels, whether physical or digital. Listening devices can be found in both bookstores and toy stores.

Libraries as Audiobook Curators

Johanna Briton, Business Development Executive at Overdrive, provided attendees with insights into the growing role of public libraries—not only as channels for audiobook license sales but also as key advocates for the format. Public libraries account for nearly 20% of the total audiobook licensing budget for U.S. public libraries, with an annual growth rate of approximately 12%.

According to a study published in January 2025 by the Audio Publishers Association, one-third of users strongly favor audiobooks as its preferred (and often exclusive) format they use on digital lending platforms in libraries. In this regard, Johanna Briton shared her belief that libraries can play a crucial role in attracting new listener-readers who embrace the idea that listening is also reading. Given that in countries like the United States, the number of libraries is twice that of bookstores, this is an important factor to consider.

Aligning with the discussion on the importance of creating multilingual catalogs, Johanna also pointed out that libraries invest in titles in languages other than English, as 22% of their users speak a language other than English.

All Roads Lead to AI

The morning was filled with multiple references to one of the most innovative yet controversial technological tools of the moment: artificial intelligence. In the audio content industries—just as in other branches of entertainment—the integration of AI is driving a profound transformation across all stages of publishing, production, promotion, and distribution.

In this context, the participation of Jon Watt, Director at Bonnier and Chair of the Audio Publishers Group within the UK’s Publishers Association, was particularly relevant. Watt has led a working group aimed at establishing international standards for the classification of AI-narrated audio products, with the goal of unifying terminology and preventing confusion in the marketplace.

As a result of this working group, the association has developed a set of labeling guidelines in collaboration with key industry players in the United States, Canada, the United Kingdom, and Europe. Its purpose is to provide transparency and clarity to consumers without making value judgments about the use of AI in narration.

Among its main recommendations, the guide suggests labeling audiobooks with synthetic voices as “AI voice” and those generated from a specific human voice as “authorized voice replica.” For Watt, establishing a common language is essential to differentiate the various types of narration and ensure that publishers and retailers communicate this information clearly to consumers. In his view, more than the technology itself, it is the lack of information that causes concern among users.

Evolution of the Audio Industry in Spanish-Speaking Markets

In the second half of the day—following a lunch break that allowed for networking, fun, and camaraderie—the speakers shifted to Spanish and focused on the evolution of the audio industry in Spanish-speaking markets.

This session kicked off with a pitch-style presentation, under the watchful eye of Eva Correa, founding partner of MecMec, who ensured that no presentation exceeded three minutes.

• Iván Patxi presented his project Bookcast, a production company specializing in adapting audiobooks into podcast format, offering customized designs for each project.
• Madelón Lánchez introduced Talking Books, an innovative initiative that integrates artificial intelligence into audiobook production, optimizing resources and improving efficiency, reducing audiobook production time by up to 50%.
• Eugenia Bascarán showcased Audiolibros con Hojas, a project by Reading U, dedicated to the efficient and creative production of audiobooks, aiming to make the process more eco-friendly and minimize its environmental impact.
• Rebeca Martín presented the academic study Audio Con_Sentido, a project proposing an age-based classification system for audio content to promote responsible consumption, particularly among younger audiences. This system aims to guide educators, parents, and users on the suitability of audio content for different age groups.
• Finally, Jeanne Bracken introduced Audiskills, a platform dedicated to creating audio-based courses on various topics, focusing on personal and professional development. Each course is published with its own ISBN, just like a book.

Key Data on Audiobook Production

Later, producers Miguel Ángel Cuevas (Director of Audiobooks at EvaTecnison), Juan Pablo Bellini (co-founder of Reading U), and Antonio Martínez Asensio (host of Un libro, una hora), coordinated by Patricia Ibáñez, tutor of the Audio Content Production course at PARIX Audio Day, shared their insights on the infographic Key Data on Audio Production in Spanish-Speaking Markets.

For the first time in the history of the Spanish-language audio industry, an analysis has been conducted on average production costs, as well as the average number of hours dedicated to each stage of audio content production. This study was carried out with the participation of 20 industry professionals, who collectively represent nearly 200 years of accumulated experience and over 200,000 hours of audio produced.

Attached is the infographic detailing the production costs of various audio formats, production timelines, and even the percentage of AI usage at different stages of the production process.

These are average figures that enrich the discussion on the specific characteristics of content production before setting a budget. Clearly, producing an audiobook that incorporates AI in some stages or production tasks will require a significantly lower budget than one created without AI. Similarly, the budget for an audio drama with 20 voice actors will not be the same as one produced with just one or two voices.

The speakers on this panel agreed that the figures presented in the study were indeed aligned with industry averages. However, Juan Pablo Bellini expressed concern over the Dosdoce.com study, which ranked production costs as the top criterion for publishers when selecting a studio. In his defense of high-quality audiobooks, he emphasized, “To grow the industry, we must first create quality audiobooks.” Miguel Ángel Cuevas, on the other hand, advocated for the importance of experimenting with more immersive storytelling.

Stories That Speak: Keys to Creating Audio Fiction and Narratives

In the next panel, Arantxa Zunzunegui (Senior Originals Director at Audible) and Mar Abad (co-founder of El Extraordinario), moderated by José Ángel Esteban (Director of Audio Content at VOCENTO), analyzed the key aspects of crafting audio narratives.

This session, as well as the following one, placed strong emphasis on the need to plan in advance whether the content being produced is intended to be transmedia considering all the essential aspects that allow a format to transition into another. This includes acquiring rights, starting the production process with adaptability in mind, and exploring how the script could later be transformed into a book, TV series, or other formats. The key is planning.

“Audio reaches the eardrum,” remarked Esteban, and Zunzunegui agreed, noting, “Spanish remains an emerging market, but audiences can distinguish the quality of the products we offer.” For Mar Abad, successful audio strategies require creativity, experimentation, and blending different narrative styles.

From Screen to Ear: Transforming Audiovisual Narratives into Audio

Another major trend shaping the future of audio content is its transmedia potential, which warranted a dedicated panel moderated by Marta García, co-founder of Smart Soluciones.

Panelists included José María Moix (Director of Audio at Onda Podcast -Atresmedia), Maite Goñi (Head of Audio at EITB), and Henar León (Head of Innovation and Grants at PRISA).

The relationship between literature and cinema is nothing new—40% of film productions are based on literary works. But what about the reverse? Can a film or TV series be adapted into an audio format? In a market eager for proven and successful content, cross-format adaptations are becoming increasingly common.

In fact, many audio dramas are now produced with the explicit intention of eventually transitioning to video if they achieve the desired success. The interesting shift is that entertainment groups are now beginning to reverse the process—assessing audiovisual projects for their potential audio-first adaptations.

Maite Goñi, Head of Audio at EITB in the Basque Country, emphasized the priority of building communities around content—loyal audiences who are willing to follow a story across multiple formats. In line with this approach, EITB recently launched Guau (Gure Audioa), a digital platform that centralizes all of its audio content, including live broadcasts, radio-derived podcasts, and original productions. Henar León (PRISA) expressed her belief that any format can be adapted into audio. Meanwhile, José María Moix acknowledged the challenges posed by adapting large-scale and complex audiovisual productions into audio formats.

Convergence of Audio Formats: Bridging Podcasts, Audiobooks, and Audio Fiction

One of the biggest trends shaping the audio industry in the coming years will be the convergence of currently distinct formats—podcasts, audiobooks, audio dramas, and audio documentaries—into a single category known as audio content.

To discuss this topic, panelists Camila Scher (Podcast Manager Spain at Amazon Music), Isabel Salazar (Country Manager at Podimo Spain), and Eduardo Alonso (Head of Spotify for Spain and Southern Europe) were moderated by Luis Miguel Pedrero from the Francisco de Vitoria University.

The industry is moving towards a unified audio content category, integrating podcasts, audiobooks, and audio fiction. This shift mirrors trends in other media industries, where format distinctions are becoming less relevant as business models unify. Open distribution and monetization are no longer exclusive to a single format. Additionally, the use of music, sound effects, and diverse voice performances has blurred the lines between podcasts, audiobooks, and fiction audio.

For listeners, in the end, it’s all just stories in audio form.

New business models are emerging, breaking traditional barriers and paving the way for a more multiformat future with fewer rigid classifications. In this regard, Eduardo Alonso clarified that Spotify considers itself more of a distribution platform than a content producer. He explained that content categories (music, podcasts, and audiobooks—currently available only in the US, UK, Germany, France, Australia, Canada, and the Benelux region) are primarily determined by creators themselves. However, he noted that categorization helps users navigate the vast amount of content available.

The panelists agreed that labeling is still necessary to some extent, especially in emerging markets, where platforms must guide users and help create a listening culture. In mature markets, however, audiences already have established listening preferences and rely less on rigid classifications.

Isabel Salazar shared Podimo’s approach, which initially categorized content by genre (with conversational and true crime being the most popular). Now, however, they are moving towards a more cross-genre strategy. She pointed out that audiences are increasingly fragmented, requiring platforms to be adaptable and flexible, blending genres and formats. Camila Scher echoed this sentiment, concluding, “Three years from now, we’ll be even further from defining what a podcast really is.”

Keys to Growing the Spanish-Language Audio Industry

The event concluded with a panel moderated by Javier Celaya, co-founder of Dosdoce.com, featuring Maribel Riaza (Content Acquisition Manager at Storytel), Carmen Ospina (Director of Marketing and Business Development at PRH), and Santos Palazzi (Director of Mass Market and Digital at Grupo Planeta).

Carmen Ospina emphasized the importance of expanding new distribution channels, given that Spotify and Amazon Music have yet to offer audiobooks in Spanish. She also highlighted the growing role of children’s listening devices and the need to think of Spanish as a global market, beyond just Spain.

Maribel Riaza noted that while the Spanish-language audiobook catalog has grown by an average of 40% annually over the past decade, much work remains. In just ten years, the number of audiobooks available in Spanish has expanded from fewer than 3,000 in 2013 to 30,000 in 2023. By the end of 2025, the industry is expected to surpass 45,000 titles. However, a significant portion of print books still lacks an audio version—less than one-third of newly published books in Spain currently have an audiobook counterpart.

Santos Palazzi discussed the opportunities AI could bring to production processes. In his view, AI can help revive lesser-known titles that would otherwise remain unpublished in audio format. AI could also allow listeners to select their preferred Spanish accent (Mexican, Colombian, Argentinian, etc.) and even generate summaries of non-fiction books.

Conclusion

PARIX Audio Day 2025 made it clear that the audiobook industry is in full expansion, but also undergoing a process of redefinition. The need to expand catalogs, establish solid business models, and develop strategic content to attract new audiences will be the challenges shaping its evolution in the coming years.

While growth figures are encouraging, the real challenge is not just increasing the number of listeners but also consolidating listening culture in society and diversifying revenue streams. The combination of technological advancements, new production strategies, and innovative funding models will be essential to guaranteeing the long-term viability of the industry.

While consumption figures are promising, the true consolidation of the format will depend on its ability to attract new listeners. The event left an essential question in the air: how can the industry’s growth be ensured without compromising excellence? Finding the answer will be crucial for the future of spoken audio.