Latest / The Scene Projects / David Relano on Music Branding, Artist Integrity, and Industry Evolution

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David Relano on Music Branding, Artist Integrity, and Industry Evolution · The Scene Projects

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  This program is part of the Scene Projects podcast network.
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  Scene Project features interviews with independent musicians, comedians, and artists
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  from across the Midwest.
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  Become part of our community and support local art wherever you are.
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  Welcome in to another exciting episode of Real Biz.
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  I am your host Bubba Starts, and with me today from Shattered Ceilings Management and Eternal
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  Perceptions Photography and Video, welcome in David Rolano.
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  David, welcome to the show, brother.
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  Hey.
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  Hey.
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  How's it going, man?
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  Thanks for having me.
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  No.
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  It's absolutely my pleasure.
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  You're you're kinda part of the family at this point.
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  I know this is our first time meeting face to face, but I've been following you and the crew
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  and everything that you guys have been doing.
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  Before we get into everything that's happening right now with with everything, I would love to
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  get a little bit of your backstory.
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  I was born and raised in Tampa, Florida.
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  I owned a landscaping company from when I was 17, and I sold that.
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  Went to the army.
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  I was a finance manager in the army for six years.
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  We got out, went back to Florida, started another landscape business, and then sold that
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  in the next year and moved to Chattanooga, Tennessee because I love the area from
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  commuting back and forth from Fort Campbell, Kentucky to Tampa, Florida.
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  Yet to pass through Chattanooga, and then that's where I just ultimately ended up
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  residing.
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  I've been the owner of Boot and Heel, which was, like, the second largest merchandiser for
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  independent wrestlers.
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  I don't know.
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  I've had a crazy journey, man.
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  Life's life's been good, and now I'm in the music industry, which I'd rather go mow yards,
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  man.
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  So so many parallels.
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  My dad's run a landscaping company my entire life.
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  So I grew up digging ditches for sprinkler lines, laying sod, humping sod around.
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  Don't miss it one bit.
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  I was born just outside of Chattanooga in Suwanee, Tennessee.
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  That's where my dad Well, at the University of the South.
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  So, ties to the area that you live in now.
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  My family, a lot of my family moved from the Chicago area down to Fort Myers.
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  So ties to, you know, around the Tampa Bay area.
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  Right.
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  Also have a wrestling show on our sports network, and, we're with, below zero wrestling
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  out here.
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  They're in North Dakota.
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  We're in South Dakota, but, you know, Midwest.
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  Beautiful, great thing that he's got going on up there.
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  So, yeah, a a lot of things we could cover and overlapping territory in our lives.
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  Obviously, RealBiz and a lot of what the Scene Project is is focused around the music
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  business, and that's kind of how we connected is your current role, you know, managing
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  artists, and, obviously, a lot of your photography and video now is centered around
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  that music business.
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  How did you fall into it?
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  It seems like you didn't really, you know are are you an artist yourself?
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  I made, like, beats for rappers, like, when I was a teenager in, like, my early twenties.
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  I had a couple features on some, like, local rapper songs and stuff, but I really never
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  pursued it as a career.
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  It's more of, like, I had, like, this kinda, like, hidden talent that artists could benefit
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  from.
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  So I collaborated in a very hobbyist fashion.
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  But I've always, like, loved music.
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  Like, I guess you could say I had, like, a somewhat of a traumatic childhood, and music
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  was, like, really a way that I coped with, like, abusive step parents and a dad that
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  suffered from mental illness and just the way he behaved and treated my mom was kinda like, I
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  didn't know how to handle it at that young of an age.
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  So, like, my first band that I, like, fell in love with, and I'm kind of like I try not to
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  get political, but they did was staying.
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  So, like, break the cycle album and, like, the song mud shovel was like it was like a way for
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  me to be angry in my mind and, like, let it out without bringing it to the surface, like that
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  that anger to the surface.
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  And and that's, like, when I fell in love with music because I saw it as, an escape in a way
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  to vent without the world knowing that I'm, like, suffering, like, behind closed doors.
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  So I think I've always had and then and then it it converted into rebellion because my mom did
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  not agree with me being 12 years old listening to rap music.
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  And you know how when you're, like, a teenager and stuff, it's like, what you tell me not to
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  do, I'm gonna like more.
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  So, like, I remember my first album that I bought was, like, the Youngbloods drinking
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  partners album with that damn song on it and the g unit beg for mercy album at, like, 13
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  years old.
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  So it was just like a rebellion, and then I just fell in love with the music and the and
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  the it wasn't just all angry music.
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  Some of it was positive.
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  Some of it was motivational.
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  So whereas to rock was my, like, anger outlet, hip hop and rap was, like, my conscious or
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  motivation to get off my ass and go do something with my life music.
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  And then I just attached to hip hop.
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  Like, I started making beats for rappers and stuff, and I was in a Christian rap group that
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  was on point in life, which is hard to believe.
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  So, like, I just clinged to to the hip hop.
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  And then being raised in the South, you just naturally got into the trap world, and and I
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  just have a a very fond respect for that genre.
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  And I'm a little biased towards it, but, yeah.
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  That's that's how
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  Yeah.
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  So while music never was the main thing like it is now, it's always kinda permeated your your
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  whole life.
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  It's always been there, you know, whether it's been, you know, making beats or just being, you
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  know, a friend when you needed it, that that it's been around.
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  And I, I was very fortunate in my life.
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  My, my my mom's brother, when I think when I was maybe, like, 13 years old, he got me three
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  albums.
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  He had three CDs for Christmas in my stocking.
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  It was, doctor Dre's the chronic, Limp Bizkit's $3 bill y'all, and Metallica Black.
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  And, you know, exposure to great music, which I'd grown up with great music.
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  Obviously, a lot of classic rock in the home.
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  You know, my my mom had the the Led Zeppelin anthology, right, with all the different albums
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  in it early on.
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  My parents were big deadheads.
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  My dad loved, you know, early, I guess, metal, Judas Priest and the scorpions and all that
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  stuff and growing up on the radio.
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  So a lot more in the rock world, but then getting exposed to hip hop and and that side of
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  things.
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  When we moved out to South Dakota, obviously, I didn't start listening to a lot of country
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  ever, until really I I got together with my wife and then getting exposed to country later
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  in life was like, oh, why wouldn't I like?
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  Like, I love bluegrass music.
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  Why wouldn't I like Alan Jackson?
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  Right?
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  Like, it's all the same instruments.
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  Maybe it's a little different, you know, kind of context to a lot of things.
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  But, as a musician myself, right, a guitar player, I can respect musicianship in whatever
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  genre it happens to be in.
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  I don't listen to a lot of heavy metal, but I listen to these guys completely shred a
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  fretboard apart.
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  And I'm like, respect.
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  Not my style of music that I like to and and enjoy listening to, but mad respect for people
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  that can play like that.
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  Right.
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  And that's that's the same thing, like, along lines of, like, me managing artists.
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  It's like like Rick Rubin said, I don't know how to play an instrument.
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  I don't know how to run a soundboard, but I trust my decision making on what I think sounds
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  good.
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  And I know if a pedal steel guitar sounds good, and I know if an eight zero eight on a hip hop
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  beat sounds good, or the melodies are on time or in the right key.
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  Like, I might not know the scientific terms behind what I'm listening to, but I can tell if
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  that's a hit or not.
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  And I think it that kind of advice and and stuff has really helped the artists that I
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  manage create their sound and be more consistent with their sound to where like, we
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  were talking about, it's like, gotta know that that's that person in the first three seconds
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  of seeing their video.
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  Well, you gotta know that that's that artist in the first three seconds of them, of you
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  listening to the song.
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  So, like, a Metro Boomin' song, you can tell by his beat style, the way he creates and produces
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  his records.
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  You press play, you know that's a Metro Boomin' beat.
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  You know that's a Migos beat, or you know that's a Drake song.
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  So really nailing down your sound is part of your whole image and brand as an artist.
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  Even if you're a feature on someone else's song, when someone listens to the first three
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  seconds of your verse, they know that you're the feature on there.
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  So branding is really important in developing all the peripheral ways you work and operate
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  and sound like really matters because it all ties back to the nucleus of you as the artist.
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  Yeah.
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  And audio branding, digital branding, it's so much more than just a logo.
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  Right?
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  It it almost has almost nothing to do with a logo.
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  Now your logo and your, you know, words and the names of your songs and your albums and things
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  can't be completely off the wall from that, but they're really, secondary to the visual and
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  audio storytelling, especially for a musical artist.
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  Correct.
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  And there's ways to to develop and to grow or experiment with keeping your roots of what
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  you're known for or who you are.
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  Some people just experience experiment too much because they don't know who they are or what
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  their sound is yet.
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  So it's like, woah.
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  Like, what are we doing?
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  You're, like, all over the place here.
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  So building that foundation is really important.
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  And it's okay to change your style.
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  It's okay to mature.
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  It's okay to get older and wiser and kinda be like, hey.
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  I'm not that artist anymore.
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  I've grown.
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  But when you grow, your audience has grown too.
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  That's why, like, whenever you, like, listen to ice cube now, he's, in Disney movies.
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  Like, he's still a gangster from back in the day.
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  You know what I mean?
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  Like, he just got older and so did he so did his audience.
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  His audience grew with him so he can do that.
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  You can't be talking about drill rap at 23 years old and then on the Disney Channel at 25.
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  So you gotta you gotta pick and choose, like, how you wanna grow or what image you're trying
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  to portray or who you really are is, like, just gotta be consistent in the beginning,
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  especially while you're trying to build your fan base.
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  Because if you just everywhere, people don't know how to consume you or what they're
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  consuming of you because it's just so scattered.
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  No.
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  And someone like you with with the mind that you have is so important to musicians these
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  days because an artist just wants to be an artist.
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  They wanna create and they wanna do that.
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  And it's like, yeah.
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  Great.
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  But you have to do all these other things.
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  No label is coming around to do all these things for you.
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  Like, those days are long gone.
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  Nobody's trying to sign you and develop you.
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  You have to develop yourself.
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  And without having someone and I think I even I struggle with this a little bit.
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  Without someone, you know, not necessarily above you, but beside you to kinda say, hey.
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  We need to be looking at it from this angle.
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  I think these are the things that we could do.
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  A trusted partner.
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  Right?
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  A Rick Rubin, but not necessarily in the recording studio outside of the studio helping
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  you with the rest of the things is just as important as having Rick, you know, next to you
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  standing at the board saying, hey.
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  Try it this way.
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  You know?
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  And, yeah, shout out to Rick Rubin.
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  Freaking love the guy,
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  and love his love his tetragram.
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  It's in his podcast.
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  It's just incredible.
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  I've been on and listening to it for over a year now when there was, like, less than a
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  thousand people subscribed on the YouTube, which is just bananas.
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  To me, with a guy with that much knowledge and having these high level conversations and to
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  know I mean, I read his book too.
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  Did you read the creative act?
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  I have not.
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  You check it out, man.
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  It's an easy read because it's broken up into a lot of small chunks.
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  It's not a front to back reader.
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  It's a lot of just, like, excerpts and stuff, but a nice one to have on the shelf even if you
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  don't carry a lot of books.
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  Yeah.
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  I I don't really educate myself in books these days.
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  Like, I am a very like, I I started a landscaping business at 17 years old, and in
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  year two, I had over 600 clients.
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  I am a trial by fire.
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  As long as the roots of my character are integrity, honesty, and transparency, then I
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  think everything else is a learning experience of what works for you.
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  And just because it works for somebody else doesn't mean it works for you.
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  And I think that's a common misconception, like, with a lot of people that just, like, go
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  to YouTube and look up motivational or look up manager secrets and stuff like that.
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  It's like the ones feeding you the information are only giving you enough to fail.
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  And I learned that in combatives in the army where there's level one combatives, level two
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  combatives, level three combatives.
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  Level one, they tell you, don't go out and pick fights after you graduate level one because
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  we're only teaching you enough to get your ass whooped.
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  So if you go to level two, you're still getting more confidence but getting your ass whooped.
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  And then level three is like, alright.
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  This is the advanced.
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  Like, this is like but you have to do one and two on your own before they teach you the
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  secret sauce.
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  So I think that happens a lot in life where why are you selling programs?
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  Like, you're only giving enough advice for them to still be better than you, and they're not
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  gonna tell you all their secrets.
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  They'll they'll give you, like, like, some surface level intelligent things, but the real
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  ways of how they operate, they're not gonna tell you because those are the scars and
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  bruises and blood and sweat and tears that got them where they're at.
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  And they're not gonna sell that on Amazon for $14.99.
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  You know what I'm saying?
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  So I think I think my experience and my life experience of trauma, tragedy, prevailing, and
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  stuff like that, I think I'm a very good judge of character.
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  I think I know who to trust and who not to trust and to put my team in positions to win
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  based off my past experience of, like, recognizing toxic behaviors in people and and
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  stuff like that that is really beneficial, and that's experience you can't get out of a book.
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  And my team trust me with that, and I was transparent when I started this management
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  company two years ago.
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  I don't know what I'm doing.
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  I have a I was a finance manager in the army.
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  I own my own businesses.
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  I know how to market.
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  I know how to brand.
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  I know how to build impactful relationships.
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  But I don't know anything about the music business.
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  I can just promise you that you're not gonna
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  you that makes you better at it than people who have been entrenched in the music business
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  because you don't have any prequalifications.
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  And without reading the book, you summarized it almost perfectly because that was pretty much
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  all that's in it.
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  It's like, look.
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  Doesn't work?
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  Go back and try again.
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  And even if it didn't work, doesn't mean that it was the wrong thing.
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  It might have just been the wrong time, and it might have been.
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  You know?
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  But you're you're never gonna become a good judge of character if you don't get out there
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  and fail, but fail forward.
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  Yes.
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  Yeah.
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  And just be there's the industry is missing integrity right now.
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  So when you come in with integrity, people, even people that are established in the
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  industry, are just always looking around for the snakes and and keeping their grass low.
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  When when you come in as someone that might not know everything, and and they know.
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  They know what you know and what you don't know, and I know what I know and don't know.
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  And I'm not hiding the fact that I have a lot of answers, but there's a lot of answers I
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  don't have.
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  But when you operate with integrity and you, like, help others win to help you win, you're
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  it's like a breath of fresh air.
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  Like, oh, man.
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  I remember when I first started in this business.
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  That's how I was.
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  And now after all these bad deals and all these people that move weird, I have had to get
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  normal to moving around weirdos.
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  And then it's like, dude, like, you're awesome, dude.
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  Like, I got introduced to UMG.
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  It's like, hey, man.
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  This is one of the best managers I've ever met in a while.
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  And here's this artist.
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  He's, like, on the edge of success.
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  Like, he just needs a little bit more development, and he'd be the label ready
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  artist.
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  And the UMG rep that was there asked the artist, well, who's your team?
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  And Jaren was like, dude, my manager is my videographer, my social media manager, my
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  photographer.
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  He's in the car with me down here in Atlanta from Chattanooga.
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  He's networking and hooking me up with Birmingham and Nashville and stuff.
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  He's like, that's all you need.
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  If that is your team, only you and one other dude, and it's gotten you this far, that's your
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  team.
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  And and sometimes less is more in this industry.
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  When you've got a lot of people in the circle or in the camp and they just offer a little bit
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  here and a little bit there, but you've got your core people that are really doing the
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  thing, that little guy that doesn't do anything feels probably more entitled to the guy that
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  you're actually in the trenches with.
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  Just because he's, like, on the side, oh, yeah.
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  Oh, I bought a ticket to your event two years ago.
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  Like, I'm on the team.
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  Like, come on.
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  No, man.
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  That's the one whenever you make it, expects you to go buy them a g wagon or something, bro.
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  Like, no.
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  Like, you gotta really identify your core pieces, and it could be one person.
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  It could be five people.
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  It could be 10 people.
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  But you really have to in the beginning, my advice is to artists, cut the diseases out of
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  your circle as soon as possible because either, one, they're dragging you down, or, two,
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  they're waiting for you to succeed so they can pin you back off of it.
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  And if you can identify, yo, man, you move a little bit weird around me.
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  I just gotta separate myself from you while I build my own thing.
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  And usually, they never come back because you called their bluff on fake love and support.
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  So I really attach myself and very loyal to the ones that wanna see me win and everyone else.
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  I just like, dude, you're an anchor.
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  Like, you just want something for nothing, and I'm not scared to let people know that I see
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  you as a leech.
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  Yeah.
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  If you ain't rowing, you ain't on the boat at this point.
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  Yeah.
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  You know?
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  Way.
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  On yourself.
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  And whenever we're on the level playing field, then we might collaborate.
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  But, man, like Lil Wayne said, there's no sitting at the table if you're bringing nothing
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  to it.
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  So Yeah.
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  No.
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  That's Feel that.
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  Feel that because we bring a lot.
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  Right?
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  Guys, keep an eye with the experience that we have in this industry.
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  We bring a lot to the table, and we know our worth, and we know where we're going and where
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  we can take other people.
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  It's very clear now.
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  And, you know, I I've made plenty of bad judgment calls.
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  I believed a little too hard in people.
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  As someone who's been, you know, you know, done some prison time, and I think I I try to see
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  the best in people.
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  Right?
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  I don't look at your past and assess you over that, but sometimes your past is because you
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  just continue to make bad choices.
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  Right?
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  And I changed my life.
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  I'm where I'm at now because of the choices that I've been making, not what my past was.
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  So, yes, I can forgive your past, but I'm also looking at the last 12 of your decisions and
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  going, yeah, we're not the same.
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  Right?
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  Like, we we are not the same, and and I can't afford to tie any kind of anchors to me right
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  now because we got we got dreams of hitting the stratosphere and going way beyond it.
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  Right?
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  So I can't have anything weighing me down.
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  No drag.
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  No drag.
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  Correct.
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  All gas, no brakes.
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  And sometimes that no to those people reveals their own motivation and their own hustle.
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  Every time I was told no, I went harder.
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  Every time like, even from landscaping.
• 22:01
  This customer doesn't want me to cut their grass or plant their trees or whatever.
• 22:06
  Let me go find a richer customer to replace them.
• 22:10
  Or what am I doing wrong?
• 22:12
  Like, what am I doing wrong to that these people aren't choosing me?
• 22:17
  And it could be as little as my truck needed a paint job.
• 22:21
  If you go into these elite neighborhoods, they're really aesthetic and keeping up with
• 22:25
  the Joneses.
• 22:26
  Or maybe my prices are too high.
• 22:28
  Should I
• 22:29
  Maybe the prices are too low.
• 22:31
  Correct.
• 22:31
  You're not establishing value because they're saying, hey.
• 22:35
  If I'm getting it cheap, I'm probably getting cheap crap or cheap service or cheap whatever.
• 22:39
  So your price could scare them if it's too low because it's like, dude, I know what it takes
• 22:47
  for you to do this.
• 22:47
  You're only charging now.
• 22:48
  Like, there must.
• 22:49
  You're not gonna show up next week, like, or something like that.
• 22:52
  You know what I mean?
• 22:53
  So, like, you have to give the perceived value of what you're doing and and until you get to
• 23:00
  the point where your name is in rooms that you're not in in in a good way.
• 23:05
  Because you could be blackballed and you could be I just want people to talk good about me
• 23:12
  when I'm not around.
• 23:14
  And I'm not scared to be like, yo.
• 23:18
  David's a jerk, he doesn't tolerate BS.
• 23:22
  That's you that's you thinking you're insulting me, but that's a compliment that you're telling
• 23:27
  people that you can't screw me or you can't try to finesse me.
• 23:31
  Like, that's a compliment to me even though you're like, hey.
• 23:34
  That dude's hard to deal with.
• 23:36
  So it it's all balances out, and I think work ethic integrity is really what's missing from
• 23:44
  the industry.
• 23:45
  So if you bring those two things to the table, you can go a lot further than 80% of your peers
• 23:51
  alone.
• 23:53
  Great advice to finish off the show with, man.
• 23:56
  David, where can everybody find you, and where can they get in touch with you if they're down
• 24:01
  there?
• 24:01
  I know you're probably not taking on a huge list of artists right now as much as you love
• 24:06
  being in the music industry.
• 24:08
  But, yeah, where can people get in touch with you and find some of your work?
• 24:13
  So I'm the man behind the curtain.
• 24:14
  I really don't do this.
• 24:17
  But my artist, Jarian Green, he's at @jariangreenofficial.
• 24:23
  At jarian green official is all his links, YouTube, Spotify, j at jason liles music is the
• 24:31
  is the rock band that I manage.
• 24:33
  You can check them out.
• 24:36
  Jasonlilesmusic.com, lyles for Lyle's.
• 24:41
  Vic Burgess, singer songwriter.
• 24:42
  I manage him.
• 24:43
  You can find him under Vic Burgess.
• 24:46
  Charlie Ross, managing Hour Late.
• 24:49
  They used to open for Seven Dust and Collective Soul.
• 24:52
  They're making a comeback.
• 24:53
  So at Hour Late ban.
• 24:56
  And my company, Shattered Sillings Management or Eternal Perceptions Photography, I don't I
• 25:02
  don't do this for my own glorification.
• 25:04
  I I want my artist on their platform and all the glory and stuff like that.
• 25:08
  So, like, I appreciate you want me to shout myself out, but my job is to shout them out.
• 25:13
  I love it, man.
• 25:14
  You shout out whoever you want to, man.
• 25:16
  That's your moment.
• 25:17
  David Rolano.
• 25:18
  Oh, Vanilla Strange too.
• 25:19
  I almost forgot.
• 25:20
  At Vanilla Strange, v I n I l l a.
• 25:22
  So There you go.
• 25:23
  Well, get them all, man.
• 25:25
  I hope we get a chance to work together when we're out on our songwriter showcase tour.
• 25:29
  Stick around for a few minutes with me.
• 25:31
  I I'd like to talk to you off camera, but, I'll let you get out from, the bright lights the
• 25:35
  podcast.
• 25:36
  Hey.
• 25:36
  And shout out Joseph Meadows Wi Fi from Clarksville, Tennessee for hooking this up too.
• 25:41
  I gotta shout out my boy.
• 25:42
  He's been a day one, supporter and collaborator.
• 25:47
  So much love to him too.
• 25:48
  Hey.
• 25:48
  Likewise, man.
• 25:50
  Wi Fi means a lot to me, and I'll be spending a lot of time with him here in the month of
• 25:53
  March.
• 25:54
  So He's a good person to be stuck with.
• 25:56
  Yeah.
• 25:57
  Well, I was gonna say, hopefully, we still like each other by the time we make it to ATL.
• 26:03
  Appreciate you, David.
• 26:04
  Thanks for being part of
• 26:05
  the series.
• 26:06
  Love.
• 26:06
  Thanks for having me, man.
• 26:07
  I really appreciate you, Bubba.
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