Latest / The Scene Projects / Brad Stewart on Music Mogul AI, Industry Challenges, and Mentorship in Nashville

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Brad Stewart on Music Mogul AI, Industry Challenges, and Mentorship in Nashville · 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 the scene.
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  I am your host Bubba Starts, and with me today is Brad Stewart.
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  Brad, welcome to the show.
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  Thank you.
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  How's it going?
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  It's It's going well.
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  You know what?
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  I figured just best I'm gonna let you introduce your agencies and the things that you do and
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  allow you to give us a little bit of the backstory because it's all kinda tied in
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  together.
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  And then, obviously, we're gonna talk a lot about your new venture with Music Mogul AI.
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  But, the floor is yours, sir.
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  Give us a little bit of the backstory here, and we'll jump into the future.
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  Sounds good.
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  Yeah.
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  Appreciate it.
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  Thanks for having me on.
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  So I started out, you know, as a booking agent in Charlotte, North Carolina with a boutique
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  agency.
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  Worked with about 30 to 35 bands a year, and I did work with them for eight and a half years.
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  So you can do the math on thirty, thirty five bands a year times eight or so.
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  That's how many bands.
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  And all I did was booking for and I was one of three people that did the entire US and Canada
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  for that company.
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  I then moved to Nashville, Tennessee.
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  My wife got a job opportunity in Nashville, and it definitely made sense for me to be in
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  Nashville over a banking city.
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  So I made the change.
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  When I did that, I started Stewart Entertainment Agency, though, and that started
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  in 2014.
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  And ever since, we've been operating as a booking agency, management agency, publisher,
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  publicist.
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  I do consulting and mentorship as well, mainly for the artists that are not quite ready for a
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  full time professional representation.
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  So I kinda did that because it's like, could still help you out, but without getting into,
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  like, a $3.60 deal or a full contract.
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  So, but, yeah, so that's how, things started.
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  COVID definitely, put the kibosh on our entire industry.
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  And, you know, after that, you know, came back in and started to rebuild and rehire agents and
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  all that stuff.
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  And up until about May, I just I I thought there had to be a better way.
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  I feel like the current model for most agencies and for artists as well is really broken.
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  So what I did was I, started a sister company called Music Mogul AI, and it is essentially a
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  software.
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  And it's really the first of its kind software, and so I think it I think it's going to
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  revolutionize the way entertainment well, independent artists do business.
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  But it is basically going to automate the booking, the marketing, and the management
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  functions, for them.
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  And it is backed by my twenty years of expertise and knowledge.
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  It you know, they get access to my database, all the workflows, the emails, the templates,
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  all that kind of stuff.
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  And it basically gives them control over their business.
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  So it essentially helps them set up the infrastructure and the systems that all of them
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  most of them need.
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  Most of them do not have any kind of system.
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  So that's what it's designed to do is to do that heavy lifting for them.
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  And then Stewart Entertainment Agency is able to offer consulting and mentorship either as an
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  add on to that software or as a stand alone service.
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  So to me, the right formula for today's music industry is really a combination of leveraging
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  technology to automate those repetitive tasks, but having the, personalized approach from a
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  consultant with twenty years of knowledge to help guide, you know, the brand or do strategic
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  partnerships or publishing.
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  And there's just a number of things that the software can't do.
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  And we're still in a relationships business.
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  So for me, the combination of the two of those is the right formula for success, and that's
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  what I've built.
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  It's currently in beta testing at the moment.
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  It will go we're scheduled to go live the second weekend or January for the official
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  launch.
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  We've done a soft launch.
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  We have a number of artists that are already testing it out, giving us feedback, and making
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  it better already.
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  So I'm super excited to, be able to announce this to the world and to, you know, implement
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  and deploy this because it's really going to change people's lives.
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  I have no doubt about it.
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  Yeah.
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  And and we are in the age of the independent artist.
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  As the industry has all but cannibalized itself completely at this point, AI artists are
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  topping the billboard charts.
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  YouTube's no longer sending data to billboard.
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  IHeart is being bought out and having their podcast bought by Netflix.
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  Like, the world is going crazy.
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  It's only a matter of time before it completely eats itself, and all of these people with 6
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  figure and 7 figure salaries at the top put themselves out of jobs as well as they have put
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  out a lot of the little guys.
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  And a lot of people in your field have already been put out of work because there's just not a
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  lot of gigs.
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  I mean, I know I'm surprised that you're still here, and I'm sure a lot of your friends in the
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  booking industry had to find other jobs through COVID because there weren't the gigs anymore.
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  Right?
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  And to just to survive, Brad, is a testament to your thinking on your feet, and this is no
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  different.
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  I was really thrilled to see you pop up on my calendar to get to know you and to get to know
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  this program a little bit.
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  And I hope I get to put some eyes on it and to see what it can do because for a small like, I
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  grew up in South Dakota.
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  I've always been an independent artist, and I've never had the dream of going and getting
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  signed by any number of record labels or any of that.
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  To me, that dream died along with a lot of other things that have died.
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  MTV and things that I remember from my childhood, Rolling Stone, and, yeah, they're
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  still around, but they're so much different than they used to be.
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  And it it we need the tools.
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  Right?
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  And with the tools, you need a little bit of that human element still to it because not just
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  in using it, but in the the right way to behave in some of these situations.
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  If you're going to have to put on the hat of the booking agent, then you're going to have to
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  even though you have a tool that can function to do some of the repetitive tasks, you need to
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  know how to talk and how to structure deals like a booking agent would as well.
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  That's right.
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  That's right.
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  Yes.
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  And, you know, it's you're everything you said is a 100%.
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  You know, wages or, you know, the guarantees for artists have essentially stayed the same
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  for fifteen years, maybe longer than that, actually.
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  You know?
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  But the cost and the expenses of gas and cost of living and all that, that has all gone up.
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  So the margins have been shrinking, not only for the artists, but for the agencies as well.
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  And, you know, for most artists to get on with the booking agency, you know, we need you to
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  already have momentum.
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  We need to see some data and some numbers behind what you're doing.
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  And, typically, the the point where agencies start to get interested in your band is once
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  you hit at least, like, 150 k a year in annual live revenue gross, we really want you to be in
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  that 2 to 300,000 level before because we get paid a percentage of commission.
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  And, you know, if we're if you're doing a $100 a year and you got a deal on us, which below,
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  like, a 150, you're typically paying 15%.
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  But let's just say you got a deal with an agent and you got them for 10% and you're doing a
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  $100 a year.
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  That's only $10,000 for us as an agency, our staff, the office manager, the agents,
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  everybody.
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  We only get paid $10 to book you for a whole year.
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  You know?
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  You're paying a publicist, you know, $5 a month to promote your album.
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  They only do that for three months.
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  They get $15 in three months.
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  So, like, the numbers and the math, that's just where the math works out.
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  And that's why you know?
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  But most artists struggle to get to that $152,100 k a year mark because they have to
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  wear all the hats.
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  They have to produce the music.
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  They have to deliver the show.
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  They have to be a manager, a publicist, a social media marketer.
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  They have to do all of this, and, you know, they haven't even performed yet.
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  You know?
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  So it's they burn out.
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  And so that is really where I saw the need to fill the gap because I can't tell you how many
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  tremendously talented artists that I've come across in my twenty years that are honestly
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  more talented than the bands that are doing more in revenue.
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  They really are.
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  The majority of them are.
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  But the problem is that they burn out before they ever reach that point to get to a booking
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  agent.
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  Yeah.
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  Or they run out of money because to get out and to to play enough shows to have made a 150,000
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  a year.
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  Say you're only making a thousand of shows, you played a 150, you probably spent a quarter
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  million dollars to play those 150 shows and only recouped one fifty.
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  Right?
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  So the numbers the math just doesn't math, Brad.
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  You you said it.
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  And and that's when you know, I've been doing this for such a long time.
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  I I have to look at the numbers for my agency as well as for them, and I've done the
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  consulting.
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  I know I've done the management.
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  I know what their numbers look like.
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  I know what our numbers look like.
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  And the juice just isn't worth the squeeze for for both parties, honestly.
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  And that's why I was like, I'm and, you know, I looked at a bunch of other softwares throughout
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  the years to help me.
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  I was like, maybe I could find another software to help me run the biz my business and the
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  agency better.
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  But the majority of them are basically just CRMs.
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  They're just customer retention management software.
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  It just helps you kinda organize your stuff.
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  It doesn't actually do anything for you.
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  And so that's why I was like, I can't find anything that's gonna help me operate more
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  efficiently.
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  I'm just gonna build my own.
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  And I was like, worst case scenario, I'll use the software inside Stewart Entertainment
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  Agency that'll allow me to scale from having 10 bands at a time to a 100 bands at a time.
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  And I was like, so let's do it.
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  You know?
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  I was like, I know I love technology.
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  Always been passionate about, operations and inefficiencies and, strategic partnerships
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  really is what I'm what I do for the most part.
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  And so that's when I was like, I I know I have the knowledge.
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  I have you know?
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  Like, I know I know the need.
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  I have the knowledge.
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  I just need a team to help me build it out.
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  I'm not a developer, so I've hired a company to help me develop.
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  You know?
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  I've given them the blueprint, and I've given them do it.
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  That was my next question, Brad.
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  Yeah.
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  You know, I used to do some coding back in the Myspace days, way back when, definitely showing
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  my age here now.
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  But, you know, that is, I I can kind of understand some of that, but that's not my
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  lane.
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  So I've definitely learned in, you know, consulting.
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  You you need to pay people for their ten, twenty, thirty, forty thousand hours to and so
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  you can stay in your lane, and that's what I've done.
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  But I have some of the best developers in the world working on this out of Silicon Valley,
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  and it is it's insane.
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  You know, they kept telling me stop building features, you know, into this.
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  And, you know, most most, founders or developers, they just they would have just
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  built built a booking software, just the marketing or just the management.
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  And I was like, it has to be all three because they're all three connected.
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  And if one of them isn't working, the other two suffer.
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  So And
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  it honestly speaks to what most artists and bands and and a lot like you said, I mean, I
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  I'm a songwriter and a musician myself.
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  So selfishly, I'm like, man, I would love to see what this could do because it's not that
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  I'm not motivated.
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  It's that eventually you just run out of time.
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  And trying to wear all of the hats, there's not enough time and one of them suffers.
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  Right?
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  And if you're doing all of the business things, then you're not creating the art that got you
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  the gig in the first place.
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  So Which is the whole reason why you got into the music industry was not to learn about AB
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  testing and ads and metadata and, you know, all this you know, like, that's not why most
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  artists get into this.
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  And God bless the ones that can do it all.
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  There are a few who god bless you guys that can do all of that.
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  And, you know but at some point, even if you can do all of that, you need a team around you.
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  None of us do this by ourselves.
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  No one does it by themselves.
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  At because at some point, you will burn out.
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  Even if you know how to do it all, you will burn out at some point because it it's just
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  it's too much to handle.
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  And, you know,
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  that's where the the consulting side and still having the agency melds very well with the tech
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  stack that you're providing is that you still have something to offer.
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  Your knowledge and your experience are still extremely valuable, but it's only valuable if
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  it's worth your time to do it as well.
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  And what the AI is helping you do is to make your time more valuable by making you more
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  efficient.
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  Like you said, if if you're the only one who's using it at the end of the day, it's going to
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  allow you to help more people and to actually be able to invest into them because you're able
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  to automate some of the process these processes that you are spending exorbitant amounts of
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  time doing, whether it's emailing venues and, like, I've done it all.
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  I've I've I've never had a manager.
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  I've never had a booking agent.
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  I've never done any of it.
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  You know?
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  And last year, I was on tour for a considerable amount of time and not necessarily just with
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  the band.
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  I was doing podcast stuff as well, but I was the one who contacted all of these people.
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  I know the exorbitant amount of time that went into it.
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  And by the time I got home, Brad, I was collapsing under the weight of the stress and
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  just being plum tired.
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  Yeah.
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  And that's, you know, that's the consulting and the mentorship side of things is critical.
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  You know?
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  We we've broken it down to where, like, you can just do the booking agent.
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  Because some some bands are like, well, I've got a manager.
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  I'll have a pub publicity team that I like.
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  I just need someone to help me do bookings.
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  And you can do that with the software.
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  Now we give you a bundle pricing if you do all three.
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  You know, you save a thousand dollars a year if you do all three, and that is honestly the
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  biggest value.
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  But you're able to just do the booking or just do the marketing or just do the management,
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  agents because there's three agents in the software, one for each of those.
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  But the consulting and the mentorship is really the secret sauce, on top of, of course, the IP.
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  And, you know, our site is, it is all custom coded.
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  This is not a vibe coded thing at all.
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  You know?
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  This is completely custom software, that is specifically designed for independent bands,
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  musicians, and DJs.
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  And so right now, you know, the consulting and the mentorship side, like, you can I have over
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  forty thousand hours?
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  I don't I I have you know, like, I've been doing this for twenty years, but I have over
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  forty thousand hours of doing this.
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  You can the artist can learn from my mistakes.
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  I've made tons of mistakes.
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  I've watched all the other miss I've learned from the other mistakes from all the teams that
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  I've worked with, you know, from their managers and their publicists, and I know who's worth
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  the money and who's not worth the money.
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  And, you know, like, I've I've we've spent hundreds of thousands of dollars, you know,
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  launching artists and campaigns and, I mean, hundreds of bands that I've worked with over
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  the years.
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  And there are common denominators, you know, for success and failures, and that's what you
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  get is a faster track from point a to point b with that consulting and mentorship.
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  And like I said, you don't have to have that, but we feel that that is the right formula
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  combined with that infrastructure and the software, which you have control over, by the
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  way.
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  You know?
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  So that's another thing that we can certainly talk about is, you know, you know, the software
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  is really meant to get bands from, you know, say, 50,000 a year to that $300,000 a year
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  mark.
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  Right?
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  Because once you get to that point, the agencies will start calling you.
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  We we we talk to those buyers every day.
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  We're pitching them, and we ask them, who's doing well for you?
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  Who's easy to work with?
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  What kind of ticket sales do they do?
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  We talk to them every day.
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  We know what numbers are we also get the reports in Polestar, and we see the numbers of
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  who's selling tickets.
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  So we can find you once you get to that point.
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  You know?
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  But the problem is bridging the gap between that 50 k a year mark from, like, you know,
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  that regional level to get you to that national and international level.
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  And that's really my lane and has been my lane for twenty years.
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  That's really my specialty is taking bands from that regional to the national and international
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  level.
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  So, you know, the the whole point of all of this, though, is to give the artist control as
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  well.
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  So the software doesn't just send out slop.
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  You know?
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  It just like, you know, you as the artist, you have control over everything that happens.
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  It simply will draft the emails and the copy for the social media and all that, and you, the
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  goal is for the software to do everything, but you need to spend twenty minutes a day per
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  module or per agent to approve the activity before it goes out.
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  So you can approve the emails that that, you know, exactly what you want it to say.
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  Now it's gonna have a draft of you know, it's gonna do that, and then you can go in and
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  change it for anything that you want.
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  So you get to approve the activity for everything.
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  None of it is going to be weird like it's coming from, you know, a bot or anything like
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  that.
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  You have full control over that.
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  Okay?
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  And so that is critical because artists are very, hesitant about AI, for the most part.
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  A lot of them don't trust it.
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  They feel like it's taking their jobs.
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  And and on the music production side and the creation side, I can I sympathize with them
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  there?
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  But this is a tool to help you run your business and to automate the things behind the
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  scenes that they don't see.
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  Like, they don't know if the email's coming from a, you know, a bot or from a human or not.
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  It's it's an email.
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  Right?
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  But I
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  get a lot of them.
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  As a podcaster and as the content creator of the year, a lot of people are seeking us out,
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  and I get the emails from Podcast Pitch and from these different organization and, you
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  know, these different people who have paid for these AI programs to draft them and had a
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  conversation today with a podcast booker on the podcast, in fact, who is using the software,
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  and I don't begrudge them at all for it.
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  You have to find ways to be more efficient, especially if you're going to be a one man show
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  or, you know, essentially, most bands have a person in the band who may be doing this or
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  that, especially these independent artists.
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  This is an absolute game changer, Brad.
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  I am thrilled to get to have this conversation with you and hope that we get the chance to,
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  work together to change the lives of independent artists around the world because
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  this is what has been most needed.
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  And this is one of the areas that has always traditionally been gatekept the hardest because
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  this is where the margins were sometimes the biggest.
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  That's right.
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  That they've been eliminated almost to the point of like you said, you know, these bands
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  no longer have there are no margins, well, then to hell with it.
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  Let's just let's just collapse it and break the system completely by redefining and reshaping a
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  new paradigm.
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  You're right.
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  Agencies have been consolidating for years.
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  You know, going back to when COVID I mean, like, at that point, I mean, agencies were
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  dropping.
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  I mean, they were firing all their agents.
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  I mean, there were some good things that came out of that, but, you know, the it's just not
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  efficient.
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  The the old model is broken.
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  It doesn't work for today's landscape, in my opinion.
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  It just doesn't.
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  And, you know, so and we can kinda circle back a little bit.
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  You know, most artists, they spend, let's just say, around $50, you know, to produce an album.
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  Right?
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  And then they do all this work getting together their ticket sales and the tour history to
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  build up to get an agency.
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  Right?
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  And let's just say you finally hit that point.
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  You finally get an agent to take you on.
• 23:06
  And most artists think, oh, I can just sit back.
• 23:09
  I can just let them do their job.
• 23:12
  All I can, now I can focus on the marketing and connecting with my fans.
• 23:16
  Right?
• 23:16
  And they think this is the answer.
• 23:20
  In about 50% of the time, maybe 40%, that is the that is the case.
• 23:27
  However, if you're not one of the top grossing artists on that roster for that agency, they're
• 23:35
  gonna do three things for you.
• 23:37
  They're gonna list you on the website.
• 23:38
  They're gonna put you in the newsletter, and they're gonna hope the phone rings for you.
• 23:44
  And if the phone doesn't ring for you, guess what?
• 23:47
  You're dropped.
• 23:49
  So you spend all this money, time, and effort to get it to that point, and most of these
• 23:55
  agencies are just mailing it in.
• 23:57
  They're just reactive.
• 23:58
  They're they're order takers.
• 24:00
  They're just reactively, you know, hoping the phone rings for you.
• 24:04
  There are very few agencies that are proactive today that are you know, you give them a a time
• 24:11
  frame, and they go out and fill the dates.
• 24:13
  Regardless of what happens and what the offers, they're just you know, their their job is to
• 24:17
  fill the dates.
• 24:19
  And that is kinda you know, the agency that I used to work with, that's how we were.
• 24:24
  We were a proactive agency even back then, but that is not the norm in the agency world.
• 24:32
  So And, Brad, I'm interested in digging into that.
• 24:35
  Now was it just booking agents inside of these agencies got lazy, or what broke the system?
• 24:43
  Right?
• 24:43
  Like, mean, the money leaving is one thing, but it's not like music is any less desirable in
• 24:49
  the in the large scale.
• 24:51
  Right?
• 24:51
  People still want to go out, or is that the root cause of it is that people aren't going
• 24:56
  out like they once did?
• 25:00
  It so I I think it's a combination of all of those, to be honest with you.
• 25:08
  But, you know, used to labels invested more into developing artists than they do.
• 25:16
  So we had there was more of a a network that was working know, together with us as agents.
• 25:24
  Like, when we would sign on to Band, you know, we wanna make sure that we're in the right
• 25:29
  stage of the product cycle for you.
• 25:31
  We wanna make sure you have something new coming out.
• 25:33
  We wanna make sure you have a publicist or a team that is going to be marketing your shows,
• 25:38
  and we would like to see a manager that's going to be, you know, handling the day to day for
• 25:43
  you because they speak our language and sometimes artists, you know, take it personal
• 25:48
  and don't get the business side of things.
• 25:51
  So we like for you to have a manager, And then we like for you to have a label for
• 25:55
  distribution purposes.
• 25:57
  And the labels used to give signing bonuses, or they would put in more, you know, for your
• 26:02
  album so that you could spend more money on the marketing, and now they don't really do that.
• 26:08
  You know?
• 26:08
  So we would kind of ride we would sync everything up together with the publicist and
• 26:15
  the manager and the record label for the timing to be right for an agency to put you on.
• 26:21
  Right?
• 26:22
  Because if we're putting our name and our butts on the line for you and we're trying to get you
• 26:27
  more money and you don't sell those tickets, it not only hurts you as a band, but it hurts us
• 26:34
  or any of the other bands that we go to pitch that club or that festival or that venue
• 26:39
  because we're we we're like realtors.
• 26:41
  You know?
• 26:42
  Our job is to find the win win win for all three parties.
• 26:46
  And if one side gets screwed, then that's bad business.
• 26:50
  And reputation is everything in this game.
• 26:53
  It it is.
• 26:54
  It truly is.
• 26:55
  So that's why we wanna make sure that you have a system around you for promo because we're
• 27:02
  putting our butts on the line for you.
• 27:05
  And if we get you more money than what, you know, you're bringing in at the door, there's
• 27:11
  only so many times the buyer's gonna answer my phone call for that.
• 27:15
  So, you know, I try to make sure our clubs, I treat them like gold.
• 27:20
  I need to make sure that they are making money on every single deal.
• 27:24
  Now they don't have to like, it doesn't have to be completely one-sided.
• 27:28
  It has to be a win win win for everybody.
• 27:31
  But anytime a club loses money on my band, I would always go back to them and say, hey.
• 27:37
  You know, you gave us a thousand points and rooms on this gig.
• 27:40
  I know we only had 50 paid on a $10 ticket.
• 27:43
  I'm gonna talk to my artist.
• 27:45
  We're gonna come back in.
• 27:46
  We're gonna try and make this up to you because we don't want you to lose money.
• 27:49
  We want to invest in you, and we appreciate you investing in us.
• 27:53
  And we want to make this right, Christine.
• 27:55
  So we'll come back in for 500, maybe $750 this time, promote it better, make 1,500, and then
• 28:03
  we're back to the thousand.
• 28:04
  But we will always wanna make sure that, you know, everybody is winning, and that's what
• 28:09
  good agencies or good agents do anyway.
• 28:13
  We're not just trying to snow, you know, a venue one time and get in and get out because
• 28:18
  they're not gonna answer the phone calls for our other bands if we do that.
• 28:23
  Right.
• 28:24
  And that's the biggest thing.
• 28:25
  You want them when they see your name up there to be excited to answer the phone, not avoiding
• 28:29
  it like a bill collector.
• 28:31
  That's right.
• 28:31
  They wanna say, that's Brad.
• 28:33
  He made me money last time.
• 28:34
  I'm gonna answer his emails.
• 28:36
  I'm gonna answer his calls.
• 28:37
  I'm not gonna ghost him for four weeks.
• 28:39
  You know?
• 28:40
  Do you feel
• 28:40
  like there's a a lack of education for independent artists in how to properly market
• 28:48
  and publicize their events to even get to the level where an agency would want to work with
• 28:53
  them, and then even after that fact because it was traditionally something that the labels
• 28:59
  did.
• 29:00
  Yep.
• 29:00
  You you're on the money, man.
• 29:02
  It's, you know, a lot of what artists don't realize is any artist that you see that is
• 29:11
  successful, there's money behind them.
• 29:15
  They're just it.
• 29:16
  Well, it's a business.
• 29:17
  And I think that, a lot of people just starting out, for forget that or or just don't know
• 29:23
  better.
• 29:24
  Right.
• 29:24
  And so, you know, at least today, you know, you can run ads on Meta, you know, Facebook and
• 29:32
  Instagram and even Spotify and bands in town for relatively cheap, but you gotta know how to
• 29:38
  run them.
• 29:39
  You know?
• 29:40
  You have to know how to find your lookalike audiences and, you know, to target fans of
• 29:45
  other bands that are similar to yours to pull them in.
• 29:48
  And most artists don't have a budget for that because they spend it all on the production of
• 29:52
  the album, and they they're out of money.
• 29:55
  You know?
• 29:55
  So it's it's, half hearted, you know, not in the natural sense, but in a financial sense.
• 30:03
  So it typically breaks down with that.
• 30:07
  And if they had any money to really develop an album at all anyway because traditionally,
• 30:12
  those were the labels investing in those and investing in a a lot of, you know, I don't
• 30:17
  wanna, like, not losers in the, you know, in a in a personal sense, but in that, the bands
• 30:23
  lost money and got dropped from the labels that they hemorrhaged enough money to the point
• 30:27
  where now they're just cannibalizing the rest of the industry to a a zero point.
• 30:33
  And that's what I see coming is that it's only a matter of time until it just eats itself
• 30:38
  completely, and all that's left are independent artists functioning inside of a new paradigm,
• 30:44
  not the old division, you know, the old industry as it was traditionally since the, you
• 30:49
  know, 1900, you know, the early nineteen hundreds when radio and everything came around.
• 30:55
  That's right.
• 30:56
  That's right.
• 30:56
  Yeah.
• 30:57
  It's and that's why we need a team around us, you know, because we can't do it all.
• 31:03
  You can't be expected to know every single facet of every single function of running a
• 31:10
  music business.
• 31:11
  And, you know, that's what we are trying to solve, with the software and with the
• 31:17
  consulting because you can learn from our strategies.
• 31:21
  We've paid ads.
• 31:22
  We've done campaigns.
• 31:24
  You can learn from our mistakes, you know, running ads or, creating, campaigns for your
• 31:32
  merch or whatever.
• 31:33
  You know?
• 31:34
  Like, there's so much to do that then that's the real value of the consulting and the
• 31:40
  mentorship.
• 31:40
  But, you know, going back to what we were talking about a little bit earlier, even if you
• 31:46
  do make it, though, and you sign on with an agency and they drop you, you are right back to
• 31:52
  square one with that.
• 31:54
  And, you know
• 31:55
  Yeah.
• 31:55
  And even if you had made it to square five before the agency got there, if they didn't do
• 32:00
  anything for you and you lost all that momentum that you had previously, you may be going back
• 32:06
  to square zero and really have done yourself a disservice by putting your career in someone
• 32:12
  else's hands.
• 32:14
  That's right.
• 32:14
  And then, you know so that is the whole thing that I love about, you know, our system is that
• 32:22
  this software only works for you twenty four hours a day.
• 32:27
  It doesn't take vacation.
• 32:28
  You don't have to wonder what's being done.
• 32:30
  You can see all the activity that's being done.
• 32:34
  You know?
• 32:34
  It it doesn't it doesn't take time off.
• 32:37
  It just works.
• 32:37
  It just keeps working, and you just approve the activity just as you would with a human.
• 32:43
  And so, you know, all the emails that are going out with it, you know, and this is some of the
• 32:50
  feedback that, you know, we got, in the beta testing so far is, you know, they didn't want
• 32:55
  the emails to come from at music mobile AI, you know, because they're like, the buyer's gonna
• 33:01
  know this is a bot, and they're gonna it's gonna go to spam, then they're not gonna answer
• 33:04
  my emails.
• 33:06
  And so I was like, okay.
• 33:07
  So I switched everything over to where they come to from at stewardentertainment.net, which
• 33:13
  is a reputable booking agency.
• 33:15
  It's been around since 2014.
• 33:17
  So it, you know, it is coming from us.
• 33:20
  Like, you
• 33:21
  little extra cache to make it look like you are signed to an agency.
• 33:25
  That's right.
• 33:27
  But you get to approve everything.
• 33:29
  Like, it's you know, you're you're approving all the activity.
• 33:33
  And having that control and the clarity with your business is, to me, is worth the price of
• 33:42
  the software in itself.
• 33:44
  Because if, you know, if you don't you know, like, even if you had a booking agent, alright,
• 33:49
  and you got them for a deal for 10%, you're doing a $100 a year, you're gonna pay them
• 33:54
  $10,000 for that year just to book your band.
• 33:59
  That's it.
• 33:59
  Okay?
• 34:00
  We are able to offer booking, marketing, and management with a $2,000 consulting on top of
• 34:08
  that for $10,000 a year.
• 34:12
  Yeah.
• 34:13
  And that's a flat fee.
• 34:14
  That's not a percentage.
• 34:16
  Should you make more than that?
• 34:17
  That's right.
• 34:18
  We don't take yeah.
• 34:19
  If you make more than that, great.
• 34:20
  You get to keep that revenue.
• 34:22
  We don't make a percentage.
• 34:24
  You only pay us a monthly subscription fee.
• 34:28
  Brad, this is absolutely life changing for so many people, and and I'm really glad that we
• 34:33
  got to talk about it today.
• 34:34
  And I got some plans that I'd like to talk about you off camera here for helping you talk
• 34:39
  about it a lot more in the future as well.
• 34:41
  So with that, go ahead and tell everybody where they can find it, where they can find the
• 34:46
  software, where they can find you at, and then, of course, we'll we'll make sure that we get
• 34:50
  the links in the show notes as well.
• 34:52
  And, yeah, hang out with me after we finish up the show, and I'd like to talk some more.
• 34:57
  Sure.
• 34:57
  Absolutely.
• 34:58
  Yeah.
• 34:58
  So Stewart Entertainment Agency, you can find us at stewardentertainment.net.
• 35:04
  That's stewar,tasintom, and then entertainment.net.
• 35:09
  And then for the software is musicmogulai.com.
• 35:15
  You can see all the different plans and the pricing and everything.
• 35:18
  We have a quick sign up form that kinda tells us a little bit about your band.
• 35:23
  I will do a one on one call with you as you sign in so that I can have a good understanding
• 35:29
  of where you are and what your goals are, and I can help craft and tailor, you know, the right
• 35:35
  structure for you as you progress.
• 35:37
  And, you know, the consulting is kinda done when you need it.
• 35:42
  There's no huge contract to lock you in for that.
• 35:45
  It can be a month to month, whatever.
• 35:47
  You know?
• 35:48
  We do kinda create bespoke custom tailored plans on the consulting because every artist is
• 35:55
  different, and all of their, you know, plans and infrastructure are different.
• 35:59
  So but, yeah, definitely excited.
• 36:02
  I really appreciate you having me on.
• 36:04
  This is amazing.
• 36:06
  You know, I know that this is going to change the lives for a lot of people.
• 36:11
  And, you know, right now, we're testing this out for the independent artists and musicians.
• 36:17
  And once that is done, there is a a plan for an enterprise level where we will be taking this
• 36:24
  software to other booking agencies, other management firms, and even record labels so
• 36:29
  that they can work more efficiently as well.
• 36:31
  So there's a whole another level to this that's coming.
• 36:34
  Lots of new features, that are gonna be built in, and we're just getting started.
• 36:39
  Awesome stuff, Brad.
• 36:40
  Well, thank you so much for everything that you've been doing in the background to help the
• 36:44
  independent artist, and thank you for being part of the scene.
• 36:48
  Yeah.
• 36:48
  Thank you so much.
• 36:49
  It's been great.
• 36:50
  Really appreciate you.