About Robert Miguel
Robert Miguel (born Robert M. Rodriguez Jr.) is a lifelong radio personality, music obsessive, concert promoter, and proud South Texan whose career has spanned major-market FM, small market radio, internet broadcasting, and independent music promotion.
Born in the early 1970s in Uvalde to Robert Sr. and Angie, Robert’s story starts in a small town rooted in faith, family, and Friday night lights. His mother, originally from Leakey, and his father were both graduates of Uvalde High School. He was raised in church, in a home with two loving, present parents, two brothers, a sister, and a steady soundtrack always playing in the background.
Some of his earliest memories involve helping with the dishes while his mom sang along to Christian radio — artists like Petra, The Imperials, Amy Grant, and Dallas Holm. Family road trips to San Antonio meant AM/FM radio drifting in and out, and one song in particular left a permanent mark: American Pie by Don McLean. When his mom explained “the day the music died,” Robert became fascinated not just with songs — but with the stories behind them. That curiosity never left.
80s Kid. Music Nerd. Future Rock Jock.
Robert was a classic 1980s latchkey kid — riding bikes all over town, delivering newspapers, playing trombone in school band, and diving headfirst into music discovery. He went deep into The Beatles lore (yes, including the “Paul Is Dead” rabbit hole), fell in love with Weird Al Yankovic, and later gravitated toward bands like They Might Be Giants, Barenaked Ladies, and Weezer.
In the mid-1980s, his family moved to the Dallas–Fort Worth metroplex. He attended Irving High School (Go Tigers!) and graduated in 1990 inside the now-demolished Texas Stadium — the original home of the Dallas Cowboys.
The big city expanded his musical palate. Hair metal anthems from Poison, Mötley Crüe, Def Leppard, Skid Row, Warrant, and Stryper became staples. He worked grocery store shifts, became a Subway “Sandwich Artist,” and spent years working in record stores like Camelot Music and Sound Warehouse — building a massive cassette and CD collection.
He also started mobile DJing with a high school friend — hauling wooden crates of vinyl and flip books of CDs long before laptops ran the show.
Breaking Into Radio – KEGL 97.1 The Eagle
In the early 1990s, Robert landed in the research department at Sandusky Radio in Dallas, home of KEGL — 97.1 The Eagle. He made cold calls from the break room, randomly dialing numbers from the phone book to ask people about their listening habits. It wasn’t glamorous. But it was a foot in the door.
That door opened wider when he secured an internship with T.C. McGuire, assisting on the 7 p.m.–midnight shift. The Eagle had just flipped to Active Rock, and T.C.’s theatrical “trip down the elevator to The Pit” became a nightly theater-of-the-mind experience powered by sound effects and imagination.
Robert was promoted to board operator, running live remotes with precision and calm under pressure. When T.C. departed and “Dangerous” Darren Silva (formerly of KNAC Los Angeles) took over nights, Robert feared the worst. Instead, he was promoted to Producer for “Renegade Radio.”
Darren gave him his first official on-air nickname: “Producer Guy Robert.”
The show leaned personality-heavy and interactive, featuring listener calls, artist interviews, and the “Mandatory Metallica” segment. Robert’s deep rock knowledge gave him instant credibility among Dallas rock fans.
He later hosted “The Unmodern Rock Show” — a tongue-in-cheek rebellion against 90s “modern rock,” proudly resurrecting big-hair 80s anthems as the new underground alternative.
The Robert Miguel Era
In 1995, Robert married and welcomed a daughter, later followed by a son. After a divorce in 2001, he eventually became a single dad with primary custody of his second daughter — balancing parenting with a radio career that was anything but 9-to-5.
In 1998, "Dangerous" Darren took a job at Radio Disney and later hosted Hair Nation on Sirius Satellite Radio. Back at KEGL, Robert took over the overnight shift (midnight–6 a.m.) — his first full-time solo show. This is when “Robert Miguel” became his on-air identity.
His early morning airshifts ended with a daily cross-talk battle with the legendary morning personality Russ Martin, sharpening his wit and teaching him to develop thick skin. (R.I.P. Russ.)
He eventually moved to prime-time middays (10 a.m.–3 p.m.) while voice-tracking overnights — effectively on-air 11 hours a day. He mastered the art of “simulive” broadcasts, pre-recording shows so convincingly that fans would hear him “live” while he was actually out at concerts. Radio magic.
Career highlights during this era included interviewing Ronnie James Dio, Bruce Dickinson of Iron Maiden, and Metallica & Linkin Park beneath Texas Stadium during the Summer Sanitarium tour. He introduced bands at venues like Reunion Arena, Bronco Bowl, Starplex (IYKYK), and even broadcast live from the Grammy Awards.
He also hosted KEGL’s legendary “The Local Show” from Trees in Deep Ellum, helping spotlight emerging Texas acts like Drowning Pool. Robert later joined forces with trailblazing rock DJ Cindy Scull for the 3–7 PM "Afternoon Drive." A respected figure known for her professional credibility and staying power, Cindy provided Robert with invaluable mentorship. To this day, the "Cindy & Robert Afternoons" era remains one of the most celebrated periods in KEGL history.
Reinvention & Internet Radio Pioneer
In 2004, ownership changes led to KEGL flipping formats. The Eagle was gone. So were the jocks.
Robert pivoted — launching Scream For Me Dallas Productions, with business partner Jason Coyle promoting local rock showcases in Deep Ellum and festivals like Skreamphest and Rawkphest at Fort Worth's Ridglea Theater and booking national and regional acts.
Robert later moved behind the scenes at the new KJKK 100.3 JACK FM, where he embraced the Adult Hits format and sharpened his digital production skills. He briefly reunited with Cindy Scull for a morning show stint at KDBN 93.3 The Bone—though the show’s edgy title, 'S&M' (Scull & Miguel), proved to be ahead of its time. His career then took a pioneering turn at Deep Ellum Radio, one of the first internet stations dedicated to supporting independent Dallas artists.
Coming Home – Uvalde Radio
In 2017, with his parents retired back in Uvalde, Robert returned home. He worked mornings and sales at KVOU 104.9 Coyote Country, diving into Texas Country and Red Dirt music.
In 2019, he struck out on his own — launching UvaldeRadio.net, an internet-based station designed specifically for his hometown but built with a big-market sound. What began as one multi-genre stream evolved into three: Uvalde Radio Country, Uvalde Radio ROCKS, and Uvalde Radio HITS.
Today, Uvalde Radio is an award-winning station:
- 3-time Texas Internet Radio Chart Station of the Year
- Multiple year nominee for Texas Country Music Awards Internet Station of the Year
- 2024 Texas Regional Radio Music Awards Internet Station of the Year - WINNER
- 2026 finalist for TRRMA Internet Station of the Year and Best Internet Radio Personality
What Matters Most
Professionally, Robert is most proud of UvaldeRadio.net — a project that blends every chapter of his life: record store kid, mobile DJ, major-market rock jock, promoter, internet pioneer, and small-market innovator.
Personally, he’s most proud of his three children — now adults — who grew up with a dad whose hours were chaotic, whose weekends were spent at remotes and concerts, and whose job never fit neatly into a timecard. Despite that unconventional path, they’ve grown into bright, successful individuals.
Robert Miguel’s story is about reinvention, resilience, and rock & roll — proof that whether you’re broadcasting from a legendary FM signal in Dallas or streaming from a small-town studio in South Texas, great radio is still about connection.
And for Robert, it always comes back to the same thing that hooked him as a kid in the back seat listening to “American Pie”:
The story behind the song.
Caitlin Visel & Karen Miller Barnes
February 25, 2026
From the historic “White Room” atop the Uvalde Grand Opera House, Robert Miguel of Uvalde Radio recently sat down with Opera House Manager Caitlin Visel and director Karen Miller Barnes to preview the highly anticipated local production of Noises Off.
With saws buzzing below and a towering two-story set taking shape on stage, excitement filled the air for what Barnes calls “the farce of all farces.”
A Historic Setting
Visel began by sharing the rich history of the Opera House, which was built in 1891 and has operated under the City of Uvalde since 1978. Originally owned by the Garner family, including John Nance Garner, the building was sold back to the city with the understanding it would be restored and brought back to life.
“That’s what we’re doing,” Visel said proudly.
For Barnes, the building holds lifelong meaning. “When I was a little girl… you could sneak in the back door of the five-and-dime and see the stage. It was not restored, it was a mess, but it was here and it was fabulous. I’m like, ‘I want to do that someday.’”
A 20-Year Dream Realized
Directing Noises Off has been a long time coming for Barnes.
“I’ve wanted to do it for probably 20 years,” she shared. “I had to have the right manager that was brave enough to say yes, and the right builder that was brave enough to think he could do it.”
The challenge? An elaborate two-story set featuring eight doors and a full rotation that reveals backstage chaos during Act Two. Community theaters often scale down the production due to technical demands, but this Uvalde version meets the challenge head-on.
“It turns around,” Barnes explained. “Act Two is backstage, and then it turns back around for Act Three. The set crew can change the entire set in ten minutes.”
Visel praised the behind-the-scenes team, noting the calm leadership and coordination required to execute such a technically demanding production.
What Is Noises Off?
Written by Michael Frayn and first performed in 1982, Noises Off is widely regarded as one of the greatest stage farces ever written. The play centers on a struggling theater troupe staging a fictional British comedy called Nothing On.
Act One shows the final dress rehearsal descending into confusion. Act Two flips the set to reveal the backstage drama — performed largely in precise, extended pantomime. Act Three returns to the front of the stage for the final performance, where everything that can go wrong does.
“It’s doors and sardines,” Barnes laughed. “It’s high jinks. It’s exact timing — exact, exact, exact timing. In a movie you can fix it. But this magic unfolds before your very eyes in live theater.”
The 1992 feature film adaptation, Noises Off, starred Michael Caine and Carol Burnett, but Barnes insists the stage version offers something even more electric.
“It’s not nearly as magical as seeing it in person,” she said. “This is fast-paced, furious, and hilarious.”
A Standout Cast
Barnes did not hold back her praise for the local cast.
“I don’t think I’ve ever had a production like this where every one of them is just top-notch,” she said. “So talented, so amazingly talented. It just blows me away.”
Among the performers are Alexa Wells and Michael Floyd Robles, both of whom have professional acting experience, along with a strong lineup of local favorites and emerging young talent.
Barnes highlighted 19-year-old Cayden, whom she first directed at age 16 as Dracula. “He was bone-chilling, blood-curdling fantastico at sixteen,” she said. “I think he’s better than the person that was in the movie. He’s fantastic.”
She also praised Cheyenne Miller as “absolutely gorgeous… brave and hilarious,” and Serenity, whose stage presence “blooms” once the spotlight hits.
Visel added insight into Barnes’ directing style: “She gives them the freedom to interpret the role the way they see it… and then offers suggestions. They’ve taken ownership of their roles. That’s part of why everyone likes to work with Karen.”
Barnes summed up her approach with a smile: “It is, however, a benevolent dictatorship.”
Show Details
Noises Off runs Thursday through Saturday at 7 p.m., with a Sunday matinee at 3 p.m. The production features three acts and two intermissions, with beer and wine available during breaks.
“Get here on time,” Barnes advised. “We’re not holding the doors.”
Advance tickets range from $15 to $20 and increase by $5 once the show opens.
“You will laugh so hard,” Barnes promised. “Uvalde has never seen anything like this.”
What’s Next at the Opera House
Visel also previewed a packed season ahead at the Opera House, including:
Comedian William Lee Martin bringing his “Seems Smart at the Time” tour in March.
Mariachi Los Coyotes in April.
A summer youth production of Harry Potter and the Cursed Child featuring 95 local students.
A September staging of Twelve Angry Men.
With major productions, youth programming, and community events filling the calendar, the Opera House continues to honor its 135-year legacy as a cultural cornerstone of Uvalde.
The full interview with Caitlin Visel and Karen Miller Barnes can be streamed on demand in the “People of Uvalde” section at uvalderadio.net/interviews.
Emma Gonzales Trimble
February 25, 2026
Uvalde County voters heard directly from county judge candidate Emma Gonzales Trimble during a “Meet the Candidate” interview on Uvalde Radio Wednesday morning, as early voting continues in the Republican primary.
Hosted by Robert Miguel, the conversation covered Trimble’s background, priorities, and vision for the future of Uvalde County.
A Fresh Perspective on County Leadership
Trimble, a longtime Uvaldean who spent approximately 20 years living and working in Dallas before returning home, emphasized that she brings a “broad spectrum perspective” shaped by both professional and hands-on life experience. She voiced strong support for term limits, noting that 40-plus years in office is too long for any one individual. If elected, she said she would limit herself to no more than three terms.
“I think we need to give others an opportunity,” Trimble said, stressing the value of new leadership and fresh ideas.
Understanding the Role of County Judge
During the interview, Trimble outlined the multifaceted responsibilities of a county judge, including oversight of probate matters, juvenile cases, county administration, and commissioners court proceedings. She highlighted the importance of balancing accountability with family-centered solutions—particularly when dealing with youth offenders.
Trimble called for greater collaboration among local institutions, including schools, faith-based organizations, law enforcement, and higher education, to address ongoing community challenges.
Faith, Family & Community Involvement
An ordained minister and counselor, Trimble discussed her work with trauma victims and her involvement in launching the Parent Project locally, a program aimed at equipping parents with tools to address truancy and behavioral challenges. She pointed to changing state truancy laws and the need to reassess local approaches to youth engagement.
Addressing the often-debated relationship between faith and public office, Trimble stated that core values—such as respect for law and public safety—are foundational to good governance.
Business & Administrative Experience
Beyond ministry, Trimble detailed her experience as co-owner of a medical device manufacturing and consulting company in Dallas, where she worked closely with physicians and healthcare providers while navigating complex regulatory systems. She also co-owned a home health company, gaining firsthand experience in budgeting, compliance, and long-term planning.
She said those experiences would translate into transparent governance, fiscal responsibility, and strategic oversight at the county level.
Key Platform Priorities
Among her campaign’s core focuses, Trimble highlighted:
Protection of Uvalde County’s water and land resources
Support for law enforcement and first responders
Increased transparency in county government
Independent audits and fiscal review
Infrastructure needs, including roads and bridges
Collaboration with ranchers and farmers, including addressing agricultural concerns
She also encouraged voters to study ballot propositions carefully and to become more engaged in commissioners court meetings and local government decisions.
Looking Ahead
Trimble is seeking the Republican nomination for Uvalde County Judge in the March 3 primary. She directed voters to her campaign website, emmaforuvalde.com, for additional details and event information.
The full audio podcast of the interview can be streamed on demand at uvalderadio.net/interviews.
