Latest / The Scene Projects / Lee Brown on Red Room Distribution, Music Strategy, and Artist Management Insights

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Lee Brown on Red Room Distribution, Music Strategy, and Artist Management Insights · 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 into this exciting episode of Real Biz.
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  I'm your host, Bubba Starts, and with me today is the CEO and founder of Red Room
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  Distribution, Lee Brown.
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  Lee, welcome to the show, brother.
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  You're on mute.
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  Uh-oh.
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  Can you hear me now?
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  We gotcha.
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  Hey.
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  What's going on?
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  Oh, man.
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  We're having too much fun just doing the discovery call.
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  I said, what the hell?
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  Let's say.
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  Before we get too far into everything, we got a lot to cover, obviously, with with the services
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  and things that you provide with Red Room.
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  But off the top here, kinda just wanna give you the floor.
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  Give us a little bit of your backstory.
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  I knew you were an artist before, and you worked, you know, high level industry, and now
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  you're kind of in this different position here with your own company.
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  So, the floor is yours, man.
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  Give us a little bit of the, the 411 on Lee Brown.
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  Alright.
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  So, yeah, I started music back when I was really young, and, actually, I was rock and
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  heavy metal.
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  Jumped from there into hip hop, toured, traveled, performed everywhere.
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  And now as I got older, the business side meant more to me than being on stage, a lot more fun
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  to me and watching everybody grow.
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  So here we are now.
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  At Red Room Distribution, what we do is we pitch music.
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  So we pitch to booking agents, labels, managers, promoters, playlists, radio, video
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  games, movies.
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  So, yeah, we do it all.
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  So that's a little bit about us, and, we started back in, like, 2019 or so.
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  That's awesome, man.
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  Yeah.
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  So you've been out here.
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  You'll be celebrating a decade before too long.
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  I'm sure that's gotta be kinda surreal.
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  Looking back, we're we're a relatively new company here with the scene projects, and we
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  haven't even been around two years, but we've experienced this massive growth over 1,500
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  uploads on the YouTube channel last year, 360,000 views, like, a massive amount of
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  attention and zero ad spent.
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  Right?
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  Like, all of it was just done by massive creation and and posting it and not worrying
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  about, like, industry norms.
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  Oh, well, you gotta just stick to a cadence and, you know, only release one episode a week.
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  I think on our network right now, we have, like, seven, eight episodes a week that are
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  coming out in some fashion somewhere.
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  And it it was it was bucking that trend that I think has really set us apart.
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  And now you see it, and you're like, holy cow.
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  Like, yeah.
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  And most of it came after we got the content creator of the year award.
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  I felt like the the award wasn't a a payment for services rendered.
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  It was a, it was kind of the starting gun.
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  Right?
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  Like, here you go.
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  Alrighty.
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  See what you can do with this.
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  And it's allowed me to reach now up into the industry.
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  Artists myself, Lee, you know, rock and country music, indie rock, I guess, it used to be.
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  Now a little more, not necessarily twang, but a little bit of that kind of Americana bent.
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  And, I think it's just the nature of being a, Midwestern artist that you're gonna be
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  influenced by a lot different things than, you know, more more urban based artists.
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  Right?
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  Yep.
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  There's more than corn in Indiana.
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  Yeah.
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  Well, you guys are gonna be busy here too.
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  The NFL draft combine will be coming to town before too long.
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  We cover the Vikings with our our sports network.
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  So I've been trying to work some credentials with the NFL.
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  I covered a PGA tour event last year, and I'm kind of familiar with the credentialing process
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  for some of these bigger places now.
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  So, yeah, trying to reach in, and I haven't been through Indianapolis in a long time.
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  Long time.
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  I mentioned we were from the Chicago area.
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  But, I I'd I'd love for you to kinda describe a little bit of what a music distribution service
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  like yours does.
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  Now we know that you, you know, you take the songs and you put them out, but I I I have
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  assumed that because being in this space a little bit now, that a lot of what you're doing
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  early on with artists is in more of the consulting side and kind of helping them get
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  their, their poop in a group, if you will, to keep it PG 13.
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  But, you know, talk about, like, that process of finding someone with good music possibly,
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  regardless of their followers, because I know you work with people that have a small follower
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  base.
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  So you found the music, but what's the process to kinda get them ready for distribution?
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  Yeah.
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  So when we meet with an artist, like I said, we have artists that have millions, and we have
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  artists that have single digit numbers.
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  But you always have to if you go with an artist with a single digit number, you kinda have to
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  consult them, let them understand the game plan, let them understand there's a blueprint
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  and how to, you know, succeed in their goals.
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  They don't happen overnight.
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  It does sometimes it does happen overnight, but very, very often that it's not.
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  No.
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  Well and I think that's something that everybody wants to go viral.
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  Right?
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  And then you see it and you're like, oh my god.
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  That went there.
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  Very rarely does a person make one video and that video goes to millions of views.
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  Right?
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  Like, it doesn't happen that way.
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  What you're you're seeing the tip of the iceberg of maybe decades of work to get to that
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  point and to have that moment.
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  Right?
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  Sometimes it happens.
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  For some artists, they never get that moment like that, but they can still build a career
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  and a following off of a lot of smaller spikes and plateaus and reaching into new communities
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  and growing their fan base incrementally over time rather than a a million followers
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  overnight.
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  Yeah.
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  If you try for a million followers overnight, you're probably gonna fail 98% of the time.
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  And, you know, if if you stick with the game plan and know there is some structure, you'll
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  you'll succeed.
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  It might not be tomorrow, but you you will win at some point.
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  So you're obviously reaching out into booking agents.
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  So you're helping people find an agent possibly.
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  And it it seems like and especially with kind of how your company is structured where it's
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  not fee based, it's percentage based, that the 20% is a pretty typical manager level.
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  Do you feel like you kinda fit in that manager role a little bit more without maybe, like, the
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  business side of it?
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  Some some contracts, you know, we facilitate, and some we don't.
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  If they already have a manager, great.
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  But if they ask us to sit in, we definitely will.
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  So, yeah, I mean, there's a little bit of management aspect because, honestly, you know,
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  everything we're pitching to could have been done years ago or whenever.
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  It's just nobody's done it.
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  So then we come in and let the artist see how it really works.
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  Yeah.
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  I I'm realizing a lot.
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  Shout out to Music Mogul AI and Brad Stewart.
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  He's been just a wealth of information for me.
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  I kinda let my career, musically go.
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  I did record an EP last year with some friends just to kinda get some of these songs out of my
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  head, but the podcast had become the most important thing a while back.
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  Right?
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  Like, I had gone on tour and gone out for a little bit.
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  Will you stop?
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  Jeez.
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  Cats, man.
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  At least yours not crawling out.
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  There he is.
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  It's like they heard one another.
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  Yeah.
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  The music industry, not necessarily chew me up and spit me out.
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  I was getting paid very well to go out and play on the road, but I'm almost 40, man.
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  Like, I I just didn't have the love for it.
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  And I found more of a love in having conversations and supporting other artists than
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  I did for that.
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  So your your story really kinda went on a similar arc with mine in there that, like,
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  celebrating other people's wins makes me feel just as good.
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  And I don't have to put in all the work of going out and performing in the setups and
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  teardowns and late nights and, like, all of all of that stuff anymore.
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  I'm just not built for it, man.
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  Yeah.
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  Right?
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  And, you just don't worry about the critics.
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  So if there's a critic out there dogging somebody else's music, hey.
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  We we're the distributor.
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  That's between y'all, not me and them.
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  Now I ain't gotta worry about that stress and pressure anymore.
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  Yeah.
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  Well, it just removes all of that.
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  What keeps you going in this industry?
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  Is it just the winds?
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  Is it working with other artists?
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  Is it getting exposed to new music and just kind of always being kind of on that cutting
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  edge of what's coming?
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  Honestly, a lot of bit of everything.
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  Because, you know, honestly, like, video games, we find out video games years in advance.
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  You know, movies, long time in advance, probably a year or so.
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  You know?
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  So just seeing other people win and being able to pitch it and then you know, if you get 10
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  no's, but there's that one yes, that one yes means more to you than anything.
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  Yeah.
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  You're gonna be lucky if it's only 10 no's to get one yes.
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  Yeah.
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  That's great.
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  Yeah.
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  Absolutely.
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  But then, you know, we sadly, have had artists who've come.
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  We've helped them out.
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  They've got booking agent deals, and then the booking agent will call me and be like, yo.
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  Look.
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  We can't work with them.
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  They won't contact.
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  You know, there's no communication.
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  And, you know, that that hurts people too because they think, you know, oh, I got a
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  booking agent or a label or whatever.
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  They work on my time now.
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  No.
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  No.
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  No.
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  If anything, it's a strategic partnership.
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  Right?
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  You have to be working so that the agents or the distributors have something to bank on to
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  Yeah.
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  If you think that somebody's gonna come and save you or make your career for you, I don't
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  think that was ever the case, but it maybe looked like it for some of these big national
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  acts of the, you know, eighties and nineties.
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  But that dream's been dead for a long time, man.
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  Yeah.
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  And and some artists, you know, they have the heart, but what it they're it's easier to talk
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  about their dreams on paper than it is to actually put in the work.
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  And we have we have investigation teams.
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  I investigate.
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  We only work as hard as the artist.
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  So if we're disputing
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  and you're like, hey.
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  I wanna be pitched to record labels or whatever, We're going to your pages, going
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  everywhere you are to make sure you're actively working and not just in the club popping
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  bottles.
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  Yeah.
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  I I've discussions I've had with other artists.
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  You know?
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  Like, you you think, you think people aren't watching you.
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  You want everyone to look at your page for your music, but then on that same page, you're out
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  on a Tuesday afternoon sipping tequila on, you know, the margarita Tuesday.
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  Right?
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  Like, it doesn't make a whole lot of sense, and people aren't gonna wanna work with you.
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  Right?
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  If you're about partying on a Tuesday afternoon, I'm not interested.
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  That that was a breaking point for me where I was like, yeah, bro.
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  We can't work till you're not good for my brand, because that's not what I'm about.
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  Right?
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  Yeah.
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  I'm about to work.
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  I'm about staying on my grind.
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  Look at where this we're filming this on a Saturday.
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  This on a weekend, we are out here working and still grinding.
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  I've been on the computer connecting with people on LinkedIn for three hours already
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  today.
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  Like, it never sleeps.
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  If you don't have that hunger, you're never gonna make it because there's a million people
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  behind you that are gonna want it more.
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  And that's the thing.
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  We have a lot of big, big artists, and I've not went to the club one time to meet any of them
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  artists.
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  I've literally met them through social media, stuff like that.
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  Like, some of the biggest artists we have, I've sent a message on social media before you even
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  jumped on the phone just saying, hey.
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  What's up?
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  And that's how the conversation so why can't, you know, normal artists, if they don't wanna
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  label or a big dish, we should come make, do that themselves instead of being at the Club
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  Papa Bottles.
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  So when we see you at the Club Papa Bottles or whatever house you wanna say it, we're like,
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  oh, he's out networking.
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  You know, we know you're not.
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  That's just the thing.
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  We just say because every time we say something to an artist, they're like, I was networking.
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  With who?
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  Yeah.
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  With who?
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  You know?
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  Your network is your net worth.
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  I mean, we're not the first ones to say that.
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  And if your network is a bunch of people out partying Wednesday through Saturday when they
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  can't afford it anyway, I don't even know who can afford a party anymore or or who really
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  even really enjoys drinking that much.
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  I I think the world has changed.
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  We're about this grind, especially here at the scene projects, music mogul AI, Red Room
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  distribution.
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  Like, if you ain't grinding with us, we ain't interested.
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  You know?
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  Because, ultimately, one one bad apple like that can be bad for the whole brand and can
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  bring down a lot of work that's been done.
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  Yep.
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  So, I mean, you even as an artist, you have to protect everybody on your team because if that
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  person's out, you need to pull them back because that's a representation of themselves.
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  You know?
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  You can't have somebody out doing that or out messing around somewhere doing something stupid
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  if they're part of your team because that's gonna be a reflection of you every time.
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  Curious as to, you know, some of the the nitty gritty, parts of it.
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  Right?
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  When you are, you know, finding an artist, and maybe they already have a booking agent, maybe
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  this is a bigger artist.
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  Right?
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  Is it mostly inside of your existing network of movie people and and video game people that
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  you're kinda going to and saying, hey.
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  I know you got this this this project going on.
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  We think this would be right.
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  Is it very targeted pitching, or is it more kind of cold reach out still for you at this
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  point in your career?
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  I mean, you're in eight, nine years.
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  So
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  Yeah.
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  So we still have our normal contacts, but every day, there's new video game developers.
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  I just met a kid.
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  Actually, he's probably 22 years old.
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  He just created a new app on his for your phone.
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  And so even little things like that.
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  And then we have big video games who every time they change the developer, we have to repitch
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  the music.
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  You know?
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  So kinda puts a damper in things.
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  But, yeah, some we still do cold calling.
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  We still do everything because no matter how many people you know, there's always other
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  people you have not met yet.
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  Yeah.
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  Working with EA doesn't mean that you're working with the same people every time.
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  Every new video game has its own crew.
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  Every iteration of a new game has its own crew and new people rolling over, and and I'm sure
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  the turnover at a lot of these places is fairly high as well.
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  Oh, it is very high.
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  So the yeah.
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  There's a big famous game coming out, next December.
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  I can't really mention the name.
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  Obviously, a lot of people know about it.
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  But we've had to pitch that video game probably eight, nine times.
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  I'm not joking.
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  Like, I'm just so sick of the game.
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  When it comes out, I'm not even gonna get it.
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  Oh, that's funny.
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  That sounds is totally, you
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  know world.
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  Yeah.
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  We have a lot of executives reached out to us like, hey.
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  We're looking for music like this.
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  Do you have something like this?
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  And we actually have, an artist with us who he's growing.
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  He's a one man band.
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  And every time I go to him for a video game or movie, I'm like, hey.
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  I need a song this.
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  He creates it, and he's a rock artist.
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  So he'll get on the drums, guitar, bass, vocals, everything, create it himself, and then
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  stuff like that.
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  So, like, I know his heart is where it's supposed to be.
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  He's an artist.
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  Knowing your niche.
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  If you got those kind of skills, right, and you're not necessarily you're creating for you
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  know, not necessarily for the paycheck, but you can bend your will at that to say, okay.
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  Cool.
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  Like, send me let me see a clip.
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  Right?
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  Like, what's the game like?
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  What are we looking for?
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  You know?
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  Give me some give me some parameters to work in, and I'll go create.
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  That's a different kind of human being.
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  Right?
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  Like, my creation is all, like, emotional inspiration.
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  Right?
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  And then I, go write a song about it.
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  It's not, you know, being able to go, okay.
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  You want a rock song?
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  Maybe it's in, like, we need it to be between this kind of meter.
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  Right?
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  We need to be in this.
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  It needs to be in this vein.
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  This is what they're looking for.
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  We don't have that yet.
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  Go make it.
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  Yeah.
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  So that's what I'm talking about.
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  His name is Jesse Stewart, and y'all should check him out if you have it.
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  He don't have a whole lot of followers right now, but he's wanting to build.
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  And no like I said, no matter where when I go to him like, we're on the phone constantly,
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  usually a couple times a week, discussing what they're looking for, and he's like, hey.
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  You can use it.
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  You can use it.
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  If you can't, you can't.
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  But he makes sure every single time there's something something to be pitched, he has a
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  song that can go in that, you know, section to pitch.
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  And if they choose, they choose it.
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  If they don't, they don't.
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  But at least he had something.
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  Yeah.
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  That guy's a gold mine for you because when he does start hitting and does get a name for
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  himself, everybody's gonna want, oh, we want Jesse.
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  Right?
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  We want Jesse.
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  Well, can Jesse do this?
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  Can Jesse do that?
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  So it's all about, like, building up.
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  And and this whole time of his creation, even if you don't use it for that game or that
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  movie, it may be used later.
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  So you're just pumping up this catalog full of, like, that's a great relationship for you.
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  I got a couple guys I wanna introduce you to that can
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  Yeah.
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  Jesse's an amazing guy, and, you know, I wish every artist had that heart, but sadly, it's
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  not true.
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  But a lot of artists do have the same heart.
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  It's just different type of genre.
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  Like, he does
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  a gotta be able to do it too.
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  Right?
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  You have to be kinda multi instrumentalist and can create at a high level.
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  You gotta be able to probably do it at home very cheap and efficiently to be able to do
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  that.
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  So it takes a special kind of artist to be able to accomplish that.
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  And, Jesse, he hasn't done this whole song done in probably an hour every time.
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  My old man.
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  He he stops waiting.
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  A year to do a five song EP, Lee.
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  And we just released Jesse's new song called mom.
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  It's sadly about his mom passing away, but the song is amazing.
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  It's a rock song.
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  It's not slow like you'd think.
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  I encourage everyone to go listen to it.
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  Yeah.
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  Well and you're gonna get me his information because we wanna have him on the show.
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  I would love to get his kind of version of this story too, right, of that creation and what it
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  means.
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  Well, in knowing that each one, any one song could be a little payday, but because of that
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  game, it could become massive or that movie or you know what I mean?
• 17:57
  Like, think of My Heart Will Go On.
• 17:59
  Right?
• 18:00
  Like, Celine Dion was pretty big already.
• 18:02
  That song made her an international superstar, and I don't know if you get the song without
• 18:08
  the movie.
• 18:09
  Right?
• 18:09
  Like, I I don't know how that story necessarily came about, but it doesn't become big if the
• 18:14
  movie isn't a global like, if the movie was in some b rate thing, it's not the same thing.
• 18:19
  Yeah.
• 18:19
  We have songs that are big in movies but are not big on Spotify, but they're selling really
• 18:23
  well in the movies, if that makes sense.
• 18:26
  Yeah.
• 18:27
  And and some are just like, why is that?
• 18:28
  I'm not sure.
• 18:29
  Last part, I can't really, you know, talk about.
• 18:32
  I have no idea.
• 18:33
  So what kind of tech are you working with?
• 18:36
  You know, do you have software that you kinda plug into that you take these songs that kinda
• 18:40
  build out the metadata or work inside of those?
• 18:43
  I I know there's some, sites like Disco and some other things.
• 18:46
  Sync Lodge is another one out there for global sync licensing and collection of royalties.
• 18:52
  I actually know Lionel Lodge.
• 18:54
  I've gotten to have a couple meetings with him lately.
• 18:55
  So shout out to Lionel.
• 18:57
  He's an amazing individual with a really huge software and some great things coming down the
• 19:01
  line.
• 19:01
  But for a guy like you, those things have to be pivotal in the actual work of getting these
• 19:07
  songs out there or finding more work.
• 19:09
  They are.
• 19:10
  And this is what people don't realize too.
• 19:12
  You know, sadly, every company has, you know, that one bad apple, and we track everything.
• 19:19
  So if we say we pitched to something, we have the validation of proof that we did it.
• 19:24
  You know?
• 19:25
  And and that's the thing is always validating.
• 19:27
  You know what?
• 19:27
  We don't like word-of-mouth.
• 19:29
  So if you, you know, you want something to pitch to a label, I'm a make sure you see a
• 19:33
  document of some sort that is showing that it's at least sent over there.
• 19:38
  Yeah.
• 19:39
  You're like, yeah.
• 19:39
  Talk to them.
• 19:40
  Yeah.
• 19:41
  Yeah.
• 19:41
  See, I don't I I I just can't
• 19:42
  my work for it.
• 19:44
  Right.
• 19:45
  Yeah.
• 19:47
  So but, yeah, that's kinda how we break everything down.
• 19:49
  And, hopefully, you know, we have a lot of artists now, but, I'm always wanting more.
• 19:54
  Obviously, that's just me.
• 19:55
  Yeah.
• 19:56
  Well and as long as you're able to keep them pitching, keep them working, and keep making
• 20:01
  money, like, there is really no level to to what you can do because the tech's only gonna
• 20:06
  get better, man.
• 20:07
  AI's here, brother.
• 20:08
  It's gotta make you even that much more efficient at what you're doing, being able to
• 20:12
  open up and work with more artists.
• 20:13
  Now you're not able to maybe have that personal relationship with 10,000 artists, but you can
• 20:18
  be working for that many and and trying to keep up and, you know, forming some kind of social
• 20:23
  media group or something to put them in to connect one to many.
• 20:26
  But, yeah, it's gotta be the world seems to be probably opening up for you now with AI, with
• 20:31
  the tech platforms, like a music mogul AI and things that are coming around that are going to
• 20:36
  open up more doors to where you don't necessarily have to communicate with as many
• 20:40
  individual companies.
• 20:42
  You can kinda go to one source and be connected to them.
• 20:46
  Well, this is the thing too.
• 20:47
  Communication is a big part.
• 20:49
  Other distros, you send an email, you don't hear back for two days.
• 20:52
  Right?
• 20:53
  Over here, every single artist that's ever asked me for my phone number, I've given given
• 20:57
  it to them because I appreciate them being with us.
• 21:00
  So if they need to call me, just ask me a question.
• 21:02
  They and we have a lot over thousands.
• 21:04
  But anytime one of them artists have ever asked me, here you go.
• 21:08
  If it weren't for you, I wouldn't be in the position I am.
• 21:12
  Right.
• 21:12
  You might not be calling them every day and saying what's up and checking on them.
• 21:16
  You shouldn't have to.
• 21:17
  You should assume they're working, but you're available to these artists when they need you
• 21:21
  and have a question.
• 21:22
  Yep.
• 21:23
  They can email me or call, text, anything, anytime they want.
• 21:26
  And like like I said, we have thousands.
• 21:28
  But, I mean, not all have my numbers, they're not all asked, but once you absolutely get it.
• 21:33
  Yeah.
• 21:33
  Well, don't show them this episode.
• 21:35
  Everybody's gonna watch your number now, Lee.
• 21:36
  Hey.
• 21:37
  It's it's totally fine, honestly.
• 21:38
  Like, I just appreciate so many artists that if all 10,000 had it, it wouldn't bother me.
• 21:43
  No.
• 21:44
  Well and and with a roster that big, you're bound to have some winners.
• 21:47
  Right?
• 21:48
  You're you're bound every like, every song has a place.
• 21:50
  And, really, that's what the distribution is is to find that place for that song.
• 21:56
  And not all of them are going to be massive paydays.
• 21:58
  Right?
• 21:59
  I mean, I know sync some sync can go upwards of tens of thousands of dollars.
• 22:03
  Most of them are probably much lower.
• 22:05
  What would you say, like, the average sync placement is for you?
• 22:09
  Is it a few thousand dollars?
• 22:11
  Is it a lit maybe a little bit more than that, or is it, you know, a a few $100?
• 22:16
  I don't feel bad about my cats jumping on screen with me now.
• 22:20
  It it so it's it varies, actually.
• 22:22
  Good like, an amateur artist coming into the game, about 10,000 finder fee for them.
• 22:29
  That's not terrible.
• 22:31
  For a for a newer artist that just had a song that that worked for the moment, man, that's
• 22:37
  freaking payday.
• 22:37
  Right?
• 22:38
  Like, maybe it's it's not you're not quitting your day job yet, but a few of those a year
• 22:44
  totally changes the trajectory of an artist's career.
• 22:47
  And it's very easy to actually achieve it.
• 22:50
  So you know?
• 22:51
  And I don't wanna say just 10.
• 22:52
  It's usually between ten and twenty is what the average is now is what the artists are getting
• 22:58
  per you know and that's not including back end royalties and all that stuff.
• 23:03
  That's just to place your song in the movie.
• 23:05
  That's crazy, man.
• 23:07
  People are losing out on so much money.
• 23:08
  All these artists I'm glad we talked today, Lee.
• 23:10
  This episode's gonna be going out real soon.
• 23:13
  I wanna include you on some of our creator conferences.
• 23:15
  We're gonna be going throughout the Midwest.
• 23:17
  Maybe you can come down and see us in Nashville in March, and we're gonna do a conference and
• 23:21
  have some people.
• 23:22
  I think it'd be invaluable for you connecting with more artists, but also for us being able
• 23:26
  to educate artists and build out this network of what we're doing and growing this community.
• 23:31
  Like I kinda said, the the the same projects as the Hoover.
• 23:34
  Right?
• 23:34
  Sucking up all these artists, right, bringing them all into this ecosystem so that each one
• 23:39
  of them can kinda find their home and to get on that merry-go-round and wherever you fall off
• 23:44
  is probably where you were meant to be.
• 23:46
  Mhmm.
• 23:47
  Yep.
• 23:47
  Absolutely.
• 23:48
  And every day, we're working it.
• 23:51
  Every hour I'm awake, I'm usually working.
• 23:55
  Usually know anything else, brother.
• 23:57
  That's right.
• 23:58
  Yeah.
• 23:59
  So if any of us have a question, what's Lee doing?
• 24:01
  Oh, trust me.
• 24:02
  Lee's on the computer or Lee's in a meeting or Lee.
• 24:05
  Yeah, man.
• 24:06
  We all got one of these to walk around with too, bro.
• 24:08
  Like, we're always available.
• 24:09
  I have to force myself to, like, okay.
• 24:11
  I am with the wife and kids.
• 24:12
  Right?
• 24:13
  Like Yeah.
• 24:14
  Exactly.
• 24:14
  And even then, I'm, thinking about it.
• 24:16
  Like, I pick it up three times in that time, and I'm like, no.
• 24:19
  Right.
• 24:19
  I'm taking the best hour to spend with the family.
• 24:24
  Yeah.
• 24:25
  No.
• 24:25
  It is sometimes it does get you know, kinda sucks sometimes when you're with your kids
• 24:30
  because I'm single, but I have two kids.
• 24:32
  My son's 20 or almost 20, and my daughter's 14, and her would be 15.
• 24:36
  So and
• 24:37
  She don't wanna hang out with you anyway.
• 24:38
  Yeah.
• 24:40
  She's just that age where friends are everything.
• 24:44
  You know?
• 24:44
  So
• 24:46
  Yeah.
• 24:46
  Well, Lee, why don't you tell everybody where they can, where they can find you, where they
• 24:50
  can get into, Red Room Distribution, get some of these artists on a call with you and
• 24:54
  pitching their music and, you know, putting you to work.
• 24:58
  And then I I hope you can stick around for a few minutes after.
• 25:00
  You know what?
• 25:01
  I I'd like to take advantage of the time I have with you, play a couple of my songs for you,
• 25:04
  and see what you think.
• 25:05
  Absolutely.
• 25:06
  We can definitely do that.
• 25:08
  So, you can find me at redroomdistro.com, or you can go to any social media and type in at
• 25:14
  Red Room Distro from, you know, LinkedIn to Instagram, everywhere.
• 25:19
  Facebook at Red Room Distro.
• 25:22
  Yeah.
• 25:23
  Well, we're gonna connect with you everywhere and be sharing your stuff out there with the
• 25:26
  world as well.
• 25:27
  And, man, really appreciate you taking some time for me on a weekend.
• 25:30
  Appreciate it.
• 25:31
  For a bit, talk some music.
• 25:33
  And, yeah, thank you, Lee, for being part of the scene.
• 25:36
  Absolutely.