Latest / Promoter101 / Promoter 101 # 250 - Western Arts Alliance (WAA) 2026 - Bruce Solar (Paladin), Dan Steinberg (Emporium/Live Nation), Rick Farrel (Gersh), R

Transcript

Promoter 101 # 250 - Western Arts Alliance (WAA) 2026 - Bruce Solar (Paladin), Dan Steinberg (Emporium/Live Nation), Rick Farrel (Gersh), R · Promoter101

• 0:16
  Speaker 1: Ba-da-ba-ba Ba-da-ba-ba Alright Promoter.
• 0:21
  Speaker 2: 101 Promoter 101 It's Promoter 101.
• 0:23
  Speaker 1: And I love it.
• 0:26
  Speaker 3: I love it.
• 0:28
  Speaker 2: It's Promoter 101 And I love it Yeah, I love.
• 0:35
  Speaker 4: It Welcome back to the Promoter 101 podcast. This is
• 0:53
  Speaker 4: a special 250th episode, Dan. Can you believe that? 250
• 0:57
  Speaker 4: of these? Old as the United States, you know. Why
• 1:00
  Speaker 4: didn't we have a military flyover for this podcast?
• 1:02
  Speaker 5: We don't have the Kinect.
• 1:04
  Speaker 6: Oh.
• 1:04
  Speaker 5: You got to know a guy.
• 1:05
  Speaker 4: We're on fire here.
• 1:06
  Speaker 2: Welcome, everybody.
• 1:07
  Speaker 4: Very excited about this episode. We're going to be airing
• 1:10
  Speaker 4: a live panel Dan hosted at the Western Arts Alliance.
• 1:13
  Speaker 4: That's WAW for all you listening out there. He had
• 1:16
  Speaker 4: Bruce Solar from Paladin. Rick Farrell from Gersh. Dan was
• 1:19
  Speaker 4: actually on the panel, and it was moderated by our
• 1:22
  Speaker 4: friend Randy Vogel from Mesa Arts Center. That's coming up
• 1:24
  Speaker 4: later in the pod. Plus, Dave Brooks joins us to
• 1:27
  Speaker 4: talk with Stiney and Zink about the news of them
• 1:29
  Speaker 4: leaving Live Nation at the end of the year. You're
• 1:31
  Speaker 4: listening to the Promoter 101 podcast starting right now.
• 1:34
  Speaker 7: This is Charles Attell, C3 Presents, and I'm on Promoter 101.
• 1:39
  Speaker 5: Want more Promoter 101? Check out all our past episodes
• 1:42
  Speaker 5: anytime you want at promoter101. com.
• 1:45
  Speaker 4: A ton of past guests, a ton of great things
• 1:47
  Speaker 4: in our old podcasts. Got something on your mind? Maybe
• 1:49
  Speaker 4: some questions, ideas, feedback? Drop us a line at steiny
• 1:52
  Speaker 4: at promoter101.
• 1:52
  Speaker 1: Net.
• 1:54
  Speaker 5: And of course, we're on X, follow us at Promoter101.
• 1:58
  Speaker 5: I am at TheJew, and Luke is WLukePierce. On Instagram,
• 2:03
  Speaker 5: the show is StineyPromoter101. I'm Dan Presents, and Luke is
• 2:09
  Speaker 5: at WLukePierce. 🎵 Hi, this is Jack Ross from UTA
• 2:14
  Speaker 5: with Stiney for Promoter 101.
• 2:16
  Speaker 4: It's time for News of the Week. Longtime friend of
• 2:19
  Speaker 4: the podcast Dave Brooks is here to get into it
• 2:21
  Speaker 4: with Dan and Jason about the shakeup at Emporium.
• 2:24
  Speaker 2: Hey guys, I'm back. I was here when you guys
• 2:27
  Speaker 2: sold the company to Live Nation and now you got
• 2:30
  Speaker 2: me back when you're leaving Live Nation. It feels like
• 2:32
  Speaker 2: it's coming full circle.
• 2:34
  Speaker 8: That feels like a really long time ago. I'm glad
• 2:36
  Speaker 8: we're all back together now.
• 2:37
  Speaker 2: So what's the plan exactly? How long you... got left
• 2:42
  Speaker 2: at Live Nation and kind of what's your obligations to them?
• 2:46
  Speaker 5: The bullet points are December 31st will be our last day.
• 2:50
  Speaker 5: And then we'll do a handoff to Live Nation on
• 2:53
  Speaker 5: anything that was booked for 2027. And we're working on
• 2:56
  Speaker 5: that now and trying to make that as easy as
• 2:58
  Speaker 5: possible for the artists, the venues, the managers. and the
• 3:02
  Speaker 5: agents that have been so good to us all.
• 3:04
  Speaker 3: Over these years.
• 3:05
  Speaker 5: And we don't want to create any additional work for anybody.
• 3:08
  Speaker 5: So we're trying to make that as smooth as possible.
• 3:10
  Speaker 5: My and Jason's hope is to have a smooth transition
• 3:14
  Speaker 5: for everyone and help find our employees that aren't staying
• 3:18
  Speaker 5: a new gig. And hopefully as many of them will
• 3:21
  Speaker 5: be retained as possible. But anyone that isn't, we're going
• 3:23
  Speaker 5: to try and find them a new place.
• 3:25
  Speaker 2: Do you remind me, do you still own the Emporium
• 3:28
  Speaker 2: name or was that that was part of the sale?
• 3:31
  Speaker 7: That was part of the sale.
• 3:32
  Speaker 6: Yeah.
• 3:32
  Speaker 8: So the, they, uh, yeah, lab nation owns it and, um,
• 3:35
  Speaker 8: they like it so much. Um, they're going to close
• 3:38
  Speaker 8: it down and not use it anymore. So, but they
• 3:40
  Speaker 8: own it.
• 3:40
  Speaker 6: Right.
• 3:40
  Speaker 2: That's what happens though.
• 3:41
  Speaker 7: Yeah, no, absolutely.
• 3:42
  Speaker 8: That's, it was totally their right to do that and
• 3:44
  Speaker 8: that's okay. Um, but as Dan said, you know, it's
• 3:47
  Speaker 8: the unfortunate part about that is not the name, but
• 3:49
  Speaker 8: the unfortunate part is, uh, yeah, since they're closing it, uh, yeah. Finding, uh,
• 3:54
  Speaker 8: finding everyone a new, new home. Um, so that's as
• 3:57
  Speaker 8: Dan said, that's what we're in the process of doing
• 3:59
  Speaker 8: and yeah, making good progress so far.
• 4:01
  Speaker 5: And we never owned the logo. It's from the.
• 4:06
  Speaker 7: Days will compete.
• 4:06
  Speaker 5: It's movie the in Austin Ellis.
• 4:08
  Speaker 6: Yeah.
• 4:09
  Speaker 5: In Austin, there was a billiard place that was a
• 4:11
  Speaker 5: hangout called the Emporium that was literally the scenes were
• 4:14
  Speaker 5: shot at and we stole the logo right off the building,
• 4:17
  Speaker 5: which is now default.
• 4:18
  Speaker 8: So, but which, which, which by the way, you're not
• 4:20
  Speaker 8: supposed to, you know, when we're doing the sale, um,
• 4:24
  Speaker 8: you know, there, you know, Assessing what all the IP
• 4:26
  Speaker 8: is that they're buying. And so they asked about the
• 4:30
  Speaker 8: logo and Dan said, you know, we stole it. And
• 4:35
  Speaker 8: when you say that to the attorneys, they get quite upset.
• 4:39
  Speaker 8: So yeah, there was a whole thing about, yeah, the
• 4:43
  Speaker 8: logo and us not owning it and all that fun stuff.
• 4:46
  Speaker 7: So that was a funny moment.
• 4:47
  Speaker 5: Well, it was actually in the contract, right? Of assets
• 4:50
  Speaker 5: that we were relinquishing to them. It was like, we
• 4:52
  Speaker 5: can't sell it to you. We don't own it.
• 4:55
  Speaker 7: Right.
• 4:56
  Speaker 5: Yeah.
• 4:56
  Speaker 2: That's a trademark.
• 4:57
  Speaker 1: This is what you want.
• 4:58
  Speaker 5: At the same time, the company was defunct. They didn't exist.
• 5:01
  Speaker 5: Like we'd gone through that week.
• 5:03
  Speaker 2: You still have obligations to them, right? Or you, you,
• 5:05
  Speaker 2: you're not a free agent on January 1st, right? How
• 5:08
  Speaker 2: does that work?
• 5:09
  Speaker 6: Yeah.
• 5:09
  Speaker 8: So we, we still have, uh, we still have, uh,
• 5:11
  Speaker 8: at that point, six months of a non-compete, um, that,
• 5:14
  Speaker 8: that has left over from the, uh, the, the, the
• 5:16
  Speaker 8: sale of the company.
• 5:17
  Speaker 7: So, yeah.
• 5:18
  Speaker 8: And so we have six months. So July 1st, theoretically
• 5:20
  Speaker 8: we can, go out and do things. But, um, you know,
• 5:23
  Speaker 8: people are asking us now, like, what's going on now?
• 5:25
  Speaker 8: And it's, it's, you know, nudge, nudge, wink, wink. What
• 5:27
  Speaker 8: are you actually doing? And like, there really is no plan.
• 5:31
  Speaker 8: The plan is to, uh, to, for the first time,
• 5:34
  Speaker 8: never have some free time and go do dumb things.
• 5:37
  Speaker 2: But there was a plan. Could you say if there
• 5:39
  Speaker 2: was a plan?
• 5:41
  Speaker 8: If there was, if there was a plan, we, we, we, yeah, we,
• 5:43
  Speaker 8: we would be in trouble and we couldn't say that,
• 5:45
  Speaker 8: but no, we really don't have a plan. Uh, My
• 5:48
  Speaker 8: goal is to, you know, go travel and see how
• 5:51
  Speaker 8: bored I get. My 11-year-old's actual recommendation to me when
• 5:55
  Speaker 8: I told him about this, he said, well, you could
• 5:57
  Speaker 8: like work at like 7-Eleven at the counter or something.
• 6:00
  Speaker 8: And I was like, yep, that is one of those possibilities.
• 6:03
  Speaker 2: Oh, my son, yes. My son on Sunday when we
• 6:05
  Speaker 2: were driving back from a road trip told me he
• 6:07
  Speaker 2: wanted to live in a gas station because he could
• 6:09
  Speaker 2: get food whenever he wanted at the.
• 6:12
  Speaker 8: Triangular gas station sandwiches are a way of life.
• 6:14
  Speaker 2: Well, it's amazing you guys have made it so long
• 6:16
  Speaker 2: together as partners because I still remember very, very vividly.
• 6:19
  Speaker 2: It was 2014 and we were at Aspen Live and
• 6:22
  Speaker 2: I was sitting down with Jason and I was like, Jason,
• 6:25
  Speaker 2: I only knew you guys for a couple of years
• 6:27
  Speaker 2: at that point. I was like, Jason, so how do
• 6:30
  Speaker 2: you work with Stiney? You guys are so different. And
• 6:33
  Speaker 2: right before Jason answered, Stiney came up, licked his finger
• 6:37
  Speaker 2: and stuck it in Jason's ear. And then Jason, he
• 6:43
  Speaker 2: didn't even look, he didn't even really like he, you
• 6:46
  Speaker 2: might've acknowledged that this happened for like a second. And
• 6:48
  Speaker 2: then he looked me straight in the eye and gave
• 6:50
  Speaker 2: me like the most PR answer. You're like, well, Dave,
• 6:54
  Speaker 2: we both have different strengths and we rely on this. Right.
• 6:57
  Speaker 2: I think they compliment each other.
• 6:58
  Speaker 9: That was just because he hasn't killed me yet.
• 7:04
  Speaker 8: Difficult to keep a straight face when there's still moisture
• 7:07
  Speaker 8: in my ear.
• 7:08
  Speaker 7: Yep.
• 7:09
  Speaker 2: And then I remember another time, Dan invited me. It
• 7:13
  Speaker 2: was in New York City. And he invited me to
• 7:15
  Speaker 2: come to a bar mitzvah for Jason. And I thought, yeah,
• 7:18
  Speaker 2: there's no way this is a real bar mitzvah. But no,
• 7:21
  Speaker 2: they actually threw you a 20-person bar mitzvah at what
• 7:25
  Speaker 2: was that?
• 7:25
  Speaker 5: Spammy's Romanian. Spammy's Romanian. Jason probably found out the same
• 7:29
  Speaker 5: way you did with a formal invitation in the mail
• 7:33
  Speaker 5: to Jason's video record. I opened the invitation. I called Dan.
• 7:37
  Speaker 8: I'm like, that's funny. You sent me an invitation. That's
• 7:39
  Speaker 8: really great. And I'm like, he's like, well, yeah, it's
• 7:41
  Speaker 8: going to be great. I'm like, with who? And he's like,
• 7:45
  Speaker 8: all the other people that I sent that invitation to.
• 7:47
  Speaker 8: I was like, well, I'm not Jewish, Dan. I don't
• 7:49
  Speaker 8: know if we've talked about this.
• 7:51
  Speaker 2: Didn't matter. Jewish adjacents.
• 7:54
  Speaker 7: That was a, that was a really fun night though.
• 7:57
  Speaker 5: It was. That was a fun night. The prayer, Seth
• 8:00
  Speaker 5: did a, Seth Siegel did a toast. It was very
• 8:03
  Speaker 5: well attended. It was a very good time. And I
• 8:06
  Speaker 5: believe Zed was having the most fun. He's like, am
• 8:09
  Speaker 5: I allowed to even be here or could I get killed?
• 8:12
  Speaker 5: Oh yeah.
• 8:12
  Speaker 1: That was, that was funny.
• 8:13
  Speaker 6: Yeah.
• 8:13
  Speaker 5: We were dancing around the table.
• 8:15
  Speaker 8: There were, like blocks of ice with vodka in it.
• 8:17
  Speaker 7: That thing.
• 8:18
  Speaker 2: Yeah, that's right. There was, yeah, that's right. It was bizarre,
• 8:21
  Speaker 2: but fun, but memorable. I mean, one of the most
• 8:24
  Speaker 2: memorable things I've ever done. And we're in the middle of,
• 8:26
  Speaker 2: I think we're in the middle of New York city. Right.
• 8:28
  Speaker 2: So it's just like, Oh wow.
• 8:32
  Speaker 5: That was a fun night. Feel it.
• 8:33
  Speaker 9: Carby.
• 8:34
  Speaker 2: Was that girl?
• 8:34
  Speaker 5: That was during billboard.
• 8:36
  Speaker 2: That was your, I was seeing a fly calm. No,
• 8:37
  Speaker 2: it was during billboard billboard. Fun.
• 8:40
  Speaker 5: Best, best bar of any conference anywhere was the Roosevelt's
• 8:44
  Speaker 5: at billboard.
• 8:45
  Speaker 7: Well, right on.
• 8:45
  Speaker 2: You guys, like I said, you guys were kind enough
• 8:47
  Speaker 2: to break the story with me. We got tons of feedback, readers,
• 8:51
  Speaker 2: people are really interested, you know, in finding out what
• 8:53
  Speaker 2: you guys were going to do. And I'm sure people
• 8:56
  Speaker 2: will be watching, you know, to see what you do next.
• 8:59
  Speaker 5: We had a great line at Live Nation and, you know,
• 9:01
  Speaker 5: can't thank Bob Rue enough for bringing us in and
• 9:04
  Speaker 5: Michael Rapinoe for believing in us. And, you know, it
• 9:06
  Speaker 5: was like, there was a bunch of people that we
• 9:08
  Speaker 5: made friends with while we were there. And we have
• 9:10
  Speaker 5: a lot of friends that are still there and, you know,
• 9:12
  Speaker 5: we wish those guys the best of luck and really
• 9:14
  Speaker 5: appreciate all the help they gave us while we were there.
• 9:16
  Speaker 5: And it was a good, it was a good journey
• 9:17
  Speaker 5: for us.
• 9:18
  Speaker 2: I was going to say, well, you gave me an
• 9:19
  Speaker 2: incredible statistic, a little factoid from that. You know, you
• 9:21
  Speaker 2: told me you did 4,000 concerts in eight years. God,
• 9:25
  Speaker 2: I mean, that's insane.
• 9:27
  Speaker 5: We didn't actually know that. Jenny Lincoln told us that.
• 9:29
  Speaker 5: We were like, that sounds like a lot.
• 9:31
  Speaker 8: Yeah, we were, we, we were busy. We were definitely busy.
• 9:35
  Speaker 8: We did, we did a lot of shows. We had,
• 9:36
  Speaker 8: you know, great staff and, and, uh, they were churning
• 9:39
  Speaker 8: it out now. We, we, we, uh, We ran through them.
• 9:43
  Speaker 2: Well, I appreciate you guys having me on to do
• 9:44
  Speaker 2: this and hopefully we'll be back soon to talk about
• 9:46
  Speaker 2: something else.
• 9:48
  Speaker 5: Hopefully we'll figure out something else. Cause I can honestly say,
• 9:50
  Speaker 5: I know nobody believes us, but I can honestly say
• 9:53
  Speaker 5: neither one of us had any plans, except I think
• 9:55
  Speaker 5: we're both thinking maybe a trip to Asia and maybe
• 9:57
  Speaker 5: a Vegas trip at some point next year, but that, that's,
• 10:00
  Speaker 5: I think all we've, we've got worked out so far
• 10:02
  Speaker 5: as a little bit of travel and, uh, that a
• 10:04
  Speaker 5: Lodi is already in the way with me.
• 10:06
  Speaker 8: So, Yeah, I've got skiing in Japan in January and
• 10:09
  Speaker 8: some Cambodia and Malaysia and a couple of sailing trips
• 10:13
  Speaker 8: in the Caribbean. And those are the plans.
• 10:15
  Speaker 2: Nice. Well, have fun. Take me with you if you want.
• 10:17
  Speaker 2: I can work remote.
• 10:19
  Speaker 5: Thank you so much, Mr.
• 10:20
  Speaker 7: Brooks.
• 10:21
  Speaker 5: So, well, we were all in Nashville last week for
• 10:23
  Speaker 5: the IEBA conference. And if there's a conference, there's an
• 10:26
  Speaker 5: award ceremony. And if there's an award ceremony... There's winners.
• 10:30
  Speaker 5: We should actually have a list of the losers. I
• 10:32
  Speaker 5: think we're going to start doing that next time, Luke.
• 10:34
  Speaker 5: Forget the winners. Who lost? Let's really focus on who lost.
• 10:38
  Speaker 5: But for this episode, we're going to go ahead and
• 10:40
  Speaker 5: stick with the winners. Club of the Year, Luke, was
• 10:42
  Speaker 5: the pinnacle in Nashville. Not a big surprise there. I
• 10:45
  Speaker 5: don't know that I'd call that a club, but what
• 10:47
  Speaker 5: the hell. We also had Theater of the Year is
• 10:49
  Speaker 5: ACL Live. Arena of the Year, MSG. That's in New
• 10:54
  Speaker 5: York City. Some of you may not have heard of
• 10:56
  Speaker 5: it yet, but some people think it's the most famous
• 10:58
  Speaker 5: arena in the world. The Amphitheater of the Year, it's
• 11:01
  Speaker 5: the Gorge, Luke.
• 11:03
  Speaker 7: The Gorge.
• 11:03
  Speaker 1: No surprise there.
• 11:04
  Speaker 5: Yeah, the Fair and Festivals of the Year, Minnesota State Fair.
• 11:08
  Speaker 5: Can't say that I've been, but if it's anything like
• 11:11
  Speaker 5: the Mall of America in Minnesota, it must be big.
• 11:14
  Speaker 4: Nate Dungan does not mess around. That is a fantastic fair.
• 11:17
  Speaker 7: All right, well, there we go.
• 11:18
  Speaker 5: Festival of the Year, Bourbon and Beyond, rightfully so. Club
• 11:22
  Speaker 5: Buyer of the Year, Sonia Grover from First Avenue. I'm
• 11:26
  Speaker 5: feeling a theme of this Midwest love right now on
• 11:30
  Speaker 5: the awards. All right, this is a beautiful thing. Continuing on,
• 11:33
  Speaker 5: Corporate Buyer of the Year, East Coast Entertainment. Congratulations to them.
• 11:37
  Speaker 5: International Buyer of the Year, it's Jim Cressman, our buddy
• 11:40
  Speaker 5: from Canada who apparently is leaving the industry. Fair and
• 11:44
  Speaker 5: Expo Buyer of the Year, Lisa Sexton at the OC Fair.
• 11:48
  Speaker 5: Festival Buyer of the Year, Tom Hoppa at Danny Wimmer Presents.
• 11:52
  Speaker 5: I didn't realize that Tom was at Danny Wimmer.
• 11:55
  Speaker 2: I thought he was still.
• 11:56
  Speaker 4: New move this year, early accolades. We're excited for Hoppa.
• 11:58
  Speaker 2: Good for him.
• 11:59
  Speaker 5: Great dude. I thought he was a bottle rock. We're
• 12:02
  Speaker 5: going to have to get him on the pod and
• 12:04
  Speaker 5: find out what's going on there. Venue Executive of the Year,
• 12:06
  Speaker 5: David Kells at Brookstones. One of the great venue GMs.
• 12:10
  Speaker 5: Young Professional of the Year, Spencer, Pinnacle Entertainment. That's a
• 12:14
  Speaker 5: good dude right there. We like him a lot. Known
• 12:17
  Speaker 5: him through a couple agencies. Moving up in the world,
• 12:19
  Speaker 5: we bumped into him at the Bar afterwards, he was
• 12:23
  Speaker 5: holding that thing like a victory trophy, which I guess
• 12:25
  Speaker 5: technically that's exactly what it is. So good for you, Spencer. Congrats.
• 12:30
  Speaker 5: Major Agency Agent of the Year goes to Becky Weingarten
• 12:33
  Speaker 5: at WME. Boutique Agency Agent of the Year, Heath Bonhart
• 12:38
  Speaker 5: at Reliant Talent. Good dude. All right. And Promoter of
• 12:42
  Speaker 5: the Year from AEG Presents, it's Rich Schaefer, friend of
• 12:46
  Speaker 5: the podcast. Good looking out, Rich. Congrats to all the
• 12:49
  Speaker 5: winners at IEBA. And yeah, good looking out. Next year, losers,
• 12:53
  Speaker 5: we're going to give you more attention. You guys deserve it.
• 12:55
  Speaker 5: You don't get on the stage. We're going to talk
• 12:57
  Speaker 5: about you guys.
• 12:58
  Speaker 4: Always the better dinner to go to anyways. There's always
• 13:01
  Speaker 4: more commiseration and fun in those dinners. Losers, there are
• 13:06
  Speaker 4: a lot more losers than winners.
• 13:07
  Speaker 2: Absolutely.
• 13:08
  Speaker 4: You know, these things are so political, Dan.
• 13:10
  Speaker 5: I've been a winner and I've been a loser, but
• 13:12
  Speaker 5: I've been a loser a whole lot more than I've
• 13:13
  Speaker 5: been a winner when it comes to the awards.
• 13:15
  Speaker 4: That sounds like a Jerry Weintraub quote.
• 13:17
  Speaker 5: It seems like a Jerry Weintraub quote.
• 13:19
  Speaker 4: Yeah.
• 13:20
  Speaker 5: Anyway, let's jam out a little bit. What else we
• 13:22
  Speaker 5: got in the news, my friend?
• 13:24
  Speaker 4: Dan, as you mentioned, as we congratulate friends and winners
• 13:27
  Speaker 4: from the IAEBA conference, that's the International Entertainment Buyers Association.
• 13:31
  Speaker 4: This was 56th annual conference right here in Nashville, Tennessee.
• 13:35
  Speaker 4: A sold-out conference. Grand Hyatt by day. The Pinnacle played
• 13:39
  Speaker 4: host at night. A whole lot of people who book
• 13:41
  Speaker 4: a whole lot of shows, doing a whole lot of
• 13:43
  Speaker 4: other things all in one building. And if you haven't
• 13:45
  Speaker 4: been to IEBA, Dan, I don't think we talk about
• 13:47
  Speaker 4: this enough in the podcast. We've mentioned it before, but
• 13:50
  Speaker 4: it's not just the stadium crowd anymore. It's buyers, fairs, casinos,
• 13:53
  Speaker 4: a lot of performing arts centers this year, even some clubs, corporates,
• 13:57
  Speaker 4: and festivals, and the agents that sell to them, all
• 14:00
  Speaker 4: the supporting production businesses that support and produce them. Highlight
• 14:03
  Speaker 4: for me, Dan, LL Cool J gave the keynote with
• 14:06
  Speaker 4: Six Men's Jeff Queller. where he talked about turning Rock
• 14:09
  Speaker 4: the Bells into a brand built on live experiences, all
• 14:13
  Speaker 4: the work he's doing on television, hyped up the crowd.
• 14:16
  Speaker 4: It was a great way to kick off Sunday afternoon.
• 14:18
  Speaker 4: Then there were plenty of breakout sessions, casino buying, a
• 14:21
  Speaker 4: lot of mental health stuff, the economic impact studies panel
• 14:26
  Speaker 4: was very great, talking about the use of public money,
• 14:29
  Speaker 4: and one that I particularly enjoyed because it felt both
• 14:32
  Speaker 4: frenetically crazy and also timely, but it was called Festival Freakout,
• 14:37
  Speaker 4: What's Actually Working. On the award side, as Dan mentioned,
• 14:40
  Speaker 4: plenty of people to congratulate for their work throughout the
• 14:43
  Speaker 4: year for this. But IEVA, Dan, a place that I
• 14:46
  Speaker 4: think most people need to be checking out. How's the
• 14:48
  Speaker 4: rest of your conference?
• 14:50
  Speaker 5: I thought the conference was really, really social. I had
• 14:54
  Speaker 5: a real good time. Saw a lot of venue friends.
• 14:57
  Speaker 5: Saw a lot of indie promoters running around the country attending.
• 15:01
  Speaker 5: and saw a lot of agents and a handful of managers.
• 15:06
  Speaker 5: Didn't seem like the big promoters were out in force
• 15:08
  Speaker 5: this year. And I've noticed there's a trend at the conferences,
• 15:12
  Speaker 5: less and less of that. More popping into the lobby
• 15:14
  Speaker 5: or asking people to pop over to their offices, but
• 15:17
  Speaker 5: not so much from any of the big guys, much
• 15:21
  Speaker 5: attendance at all.
• 15:22
  Speaker 4: I definitely noted that as well, too. I mean, in
• 15:25
  Speaker 4: Nashville at Grand Hyatt, which is right next to the
• 15:27
  Speaker 4: brand new Nashville Yards, which is host to the pinnacle
• 15:30
  Speaker 4: of venue that's owned by aeg in that building there's
• 15:33
  Speaker 4: also aeg's offices ca's offices that are brand new in
• 15:37
  Speaker 4: that space and felt a lot of that this year
• 15:38
  Speaker 4: just folks kind of uh being toured through the new
• 15:41
  Speaker 4: ca camp which is a block away from the hotel
• 15:44
  Speaker 4: or aeg that you know there's a lot of people
• 15:46
  Speaker 4: registered for aeg but i feel like they were all
• 15:48
  Speaker 4: mostly tucked away unless they were on a panel or
• 15:50
  Speaker 4: showing up at the pinnacle themselves that night but you
• 15:53
  Speaker 4: know it seems to have bifurcated both those paths as
• 15:55
  Speaker 4: well too i think pole star feels a little bit
• 15:57
  Speaker 4: the same in los angeles So it's not symptomatic of
• 16:00
  Speaker 4: just this particular conference, but.
• 16:03
  Speaker 5: I feel there's a step back for the bigger promoters.
• 16:07
  Speaker 6: Yeah.
• 16:08
  Speaker 5: And not one or the other, but both of them.
• 16:10
  Speaker 4: Yeah.
• 16:11
  Speaker 5: So particularly in America.
• 16:13
  Speaker 4: Yeah.
• 16:14
  Speaker 5: Should be noted at both the arts conferences. Didn't see
• 16:17
  Speaker 5: any of those guys either.
• 16:19
  Speaker 7: Yeah.
• 16:19
  Speaker 5: Not that that would be normal to see those guys there.
• 16:22
  Speaker 4: Well, we'll add our final congrats to. Brian and his
• 16:25
  Speaker 4: staff at IEBA for putting on, uh, I think this
• 16:28
  Speaker 4: is the first year that Brian has had full reigns
• 16:30
  Speaker 4: on the, uh, the, uh, conference itself with all the
• 16:33
  Speaker 4: planning with his board, uh, since Pam Matthews retired. And
• 16:36
  Speaker 4: I think I thought he did a great job.
• 16:37
  Speaker 5: So yeah, he obviously executed last year, but yeah, Pam,
• 16:41
  Speaker 5: obviously it seemed like started most of the started it
• 16:43
  Speaker 5: before she retired. So there's a handoff there in the
• 16:45
  Speaker 5: middle somewhere, but yeah, this was, this was his baby
• 16:48
  Speaker 5: this year from start to finish. Yeah.
• 16:50
  Speaker 4: So congrats and hope to see everybody at IEBA 2027.
• 16:53
  Speaker 1: Lots of good meals.
• 16:55
  Speaker 5: There's good comfort food there in Nashville.
• 16:57
  Speaker 4: Just a bit of it, you know?
• 16:58
  Speaker 5: Yeah.
• 16:59
  Speaker 7: Found good food everywhere.
• 17:01
  Speaker 1: Dan, a quick one here.
• 17:01
  Speaker 4: We're a little late on the podcast to talk about
• 17:03
  Speaker 4: the Macklemore-Ed Sheeran debate here, but the story played out
• 17:07
  Speaker 4: in kind of an interesting way on the follow-on here.
• 17:09
  Speaker 4: Zach Bryan, a couple nights after Ed Sheeran's supposed to
• 17:12
  Speaker 4: be scheduled to play at Gillette Stadium, played two nights,
• 17:16
  Speaker 4: setting a record sale for tickets sold. Gillette Stadium, drawing
• 17:20
  Speaker 4: just over 75,000 people. It's the biggest crowd for any
• 17:25
  Speaker 4: event in the building's history, beating Ed's show from a
• 17:27
  Speaker 4: couple years ago. This is the same guy that put
• 17:30
  Speaker 4: more than 112,000 people into Michigan Stadium last year, so
• 17:33
  Speaker 4: no surprise there. But I think the thing that has
• 17:35
  Speaker 4: been yoking a few people here is his wardrobe.
• 17:39
  Speaker 1: He wore a.
• 17:39
  Speaker 4: Free Palestine shirt on stage, which the Boston Globe read
• 17:43
  Speaker 4: as a shot at Robert Kraft, the Patriots owner. Whatever
• 17:46
  Speaker 4: you think of the politics, the business point's pretty simple.
• 17:50
  Speaker 4: The artists with the leverage stood on that stage, having
• 17:52
  Speaker 4: sold all those tickets, and the owner's building still had
• 17:54
  Speaker 4: the best night it ever had. So does a night
• 17:57
  Speaker 4: like that, Dan, change how a building owner thinks about
• 18:01
  Speaker 4: telling an artist what they can wear?
• 18:03
  Speaker 5: What do you think? I love the idea of the
• 18:06
  Speaker 5: artist being told what to do. Creative control stays with
• 18:09
  Speaker 5: the artist. always and forever. I don't love how any
• 18:12
  Speaker 5: of this played out. Touchy subject when it comes to
• 18:16
  Speaker 5: Israeli politics, regardless. And I obviously have a feeling about
• 18:20
  Speaker 5: all of this, but I don't want to go down
• 18:23
  Speaker 5: the political route on the podcast. Let's just say that
• 18:25
  Speaker 5: I think artists should be free to say whatever they
• 18:28
  Speaker 5: want to say. In all fairness, it was not his show.
• 18:31
  Speaker 5: It was Ed's show, and it should be respectful of
• 18:34
  Speaker 5: Ed's politics, too, and the fact that Ed tries not
• 18:36
  Speaker 5: to stick his toe into that, historically. and has said
• 18:40
  Speaker 5: as much that it's not what he shows about. So,
• 18:42
  Speaker 5: a little bit of a thing.
• 18:44
  Speaker 4: I like the stance, though. Give the artist the freedom here.
• 18:47
  Speaker 4: There's morality around some of these things, and whatever context
• 18:50
  Speaker 4: or clause you want to put for that I think
• 18:52
  Speaker 4: is restricted, and I think it's hard to kind of
• 18:54
  Speaker 4: operate globally with that sense of things without that sense.
• 18:58
  Speaker 1: So, I'm here with you.
• 19:00
  Speaker 4: Next up, Dan, you're doing a bit of the executive
• 19:02
  Speaker 4: shuffle at the end of the year, but wasn't the
• 19:05
  Speaker 4: only one. Three moves in the last couple weeks kind
• 19:08
  Speaker 4: of tell you where Things are heading first. While Dan
• 19:11
  Speaker 4: and Jason are going off at the end of the
• 19:12
  Speaker 4: year here, the guy at the top, Mike Rapinoe, is not.
• 19:15
  Speaker 4: He's extended his contract through 2031 with a target package
• 19:19
  Speaker 4: of comp, about a total of $ 60 million, which is
• 19:21
  Speaker 4: double his previous pay. The board's response to Rapinoe's navigating
• 19:25
  Speaker 4: all of the Ticketmaster, Live Nation, jury battles throughout this
• 19:30
  Speaker 4: year in regards to antitrusts. Well, it's to lock him in.
• 19:33
  Speaker 4: It's a sign of some high confidence, or maybe just
• 19:37
  Speaker 4: a very expensive message to a judge, Dan. Second, you
• 19:40
  Speaker 4: had over at AEG, Bowery Presents co-presidents Jim Glancy and
• 19:44
  Speaker 4: John Moore Jomo are stepping aside. Four senior VPs now
• 19:48
  Speaker 4: share that job, including the Andrew Martin here in Nashville,
• 19:51
  Speaker 4: and they all report direct to AEG's Brent Fadrizi. Two
• 19:54
  Speaker 4: bosses just kind of came for. The last thing, one
• 19:57
  Speaker 4: I sort of highlighted here, was a hire that Suno made.
• 20:01
  Speaker 4: That's the AI music company that Universal and Sony are
• 20:04
  Speaker 4: presently suing as we talk about this. They hired away
• 20:07
  Speaker 4: Michael Chua from Ticketmaster to run its live business. That
• 20:10
  Speaker 4: includes Songkick, which Suno got from Warner as part of
• 20:13
  Speaker 4: their global settlement. Chu is the guy who built Ticketmaster
• 20:16
  Speaker 4: Partnerships with Google, Spotify, TikTok. He's the reason you can
• 20:20
  Speaker 4: buy a ticket without ever opening Ticketmaster. So I think
• 20:23
  Speaker 4: a phenomenal hire over there. So Dan Rapinoe through 2031,
• 20:27
  Speaker 4: signed while that remedy is still pending. Jomo and Glancy out.
• 20:32
  Speaker 4: Suno kicking stuff in on the live set of things.
• 20:34
  Speaker 4: What do you make of any of the timing on
• 20:36
  Speaker 4: any of these things?
• 20:38
  Speaker 5: Um, yeah, I don't think any of the things are related.
• 20:40
  Speaker 5: I think that everything has its own reason. And I'm
• 20:43
  Speaker 5: hearing rumors. I haven't talked to Jomo and Glancy yet.
• 20:46
  Speaker 2: They're buddies.
• 20:47
  Speaker 5: And I really kind of want to get filled in
• 20:49
  Speaker 5: on the story before I talk about it, but got
• 20:51
  Speaker 5: ideas of what's going on there. But I think all
• 20:53
  Speaker 5: of these different things are all related to different personal
• 20:57
  Speaker 5: scenarios and directly related to their connections.
• 21:00
  Speaker 1: To the companies.
• 21:01
  Speaker 5: So I think it's just a coincidence that This stuff
• 21:04
  Speaker 5: is playing out now and the end of the year
• 21:06
  Speaker 5: is coming up. So I think we're gonna start seeing
• 21:08
  Speaker 5: more and more of these, but the bigger the guys are,
• 21:11
  Speaker 5: the more time they need to adjust staff and the shows. So,
• 21:15
  Speaker 5: you know, Jim and Lancey, those guys are big guys.
• 21:17
  Speaker 5: They oversee a lot of people. Transformation is going to
• 21:20
  Speaker 5: take a little bit of time.
• 21:22
  Speaker 1: Same thing.
• 21:22
  Speaker 5: We're a whole division in Emporium.
• 21:23
  Speaker 1: So that's going to take a little bit of.
• 21:25
  Speaker 5: Time and notice in the redirection and replacement of where
• 21:29
  Speaker 5: staff is sitting is, you know, going to take some
• 21:32
  Speaker 5: time and, you know, some setup. So you don't want
• 21:34
  Speaker 5: to just throw that stuff out and just be done
• 21:36
  Speaker 5: with it the next day. That's not a two week
• 21:37
  Speaker 5: notice kind of thing.
• 21:38
  Speaker 7: Yeah.
• 21:39
  Speaker 4: Well, all signs to pay attention to this space over
• 21:42
  Speaker 4: the next couple of weeks is the end of the year.
• 21:44
  Speaker 4: Usually some shakeups between there and the top of the year.
• 21:46
  Speaker 4: So I'm sure it won't be the last, last we
• 21:48
  Speaker 4: hear about this stuff.
• 21:49
  Speaker 7: There you go.
• 21:50
  Speaker 4: Last story here, Dan, we'll make it quick. Spotify just
• 21:53
  Speaker 4: announced its first live event. It's called the Spotify super
• 21:57
  Speaker 4: fans experience or SFX.
• 22:00
  Speaker 7: For short.
• 22:01
  Speaker 4: Those with a very short memory of the music business
• 22:04
  Speaker 4: will probably laugh at that one. It's going to be
• 22:06
  Speaker 4: two days in Sao Paulo, January 23rd and 24th. The
• 22:10
  Speaker 4: lineup features Brazilian talent like Ludmilla, Luisa Sonza, Pablo Vittar,
• 22:15
  Speaker 4: and a few podcasts. The part that I think matters
• 22:17
  Speaker 4: is Spotify Premium's Superfans got an exclusive pre-sale on October
• 22:22
  Speaker 4: 8th before the general on-sale on the 13th. The part
• 22:25
  Speaker 4: that I thought, of course, interesting is how Spotify picked
• 22:28
  Speaker 4: their lineup. They use Listing data, of course, the monthly listeners,
• 22:31
  Speaker 4: the followers, the geographic level data they can have on
• 22:35
  Speaker 4: how many people are streaming a song multiple times a day. Collectively,
• 22:39
  Speaker 4: they call that fandom research. That's the whole pitch. Spotify
• 22:42
  Speaker 4: knows exactly who the most obsessed fans are based on
• 22:46
  Speaker 4: music consumption. Now it's selling tickets direct to them. It's
• 22:49
  Speaker 4: not the first time Spotify has launched in this space.
• 22:51
  Speaker 4: It's building on a program called Reserve by Spotify, which
• 22:54
  Speaker 4: launched in June, which holds tickets for an artist's top
• 22:57
  Speaker 4: fans before the general on-sale date. all through Ticketmaster on
• 23:00
  Speaker 4: Live Nation shows only right now. So far, Spotify seemingly
• 23:03
  Speaker 4: has been a very friendly distribution partner for ticketing in
• 23:06
  Speaker 4: some places. My take, Dan, a fan event in Brazil
• 23:09
  Speaker 4: isn't going to be a threat to any business tomorrow,
• 23:12
  Speaker 4: but this company does have the best demand data on
• 23:15
  Speaker 4: the planet, and it just produced a show of its own,
• 23:17
  Speaker 4: and Spotify says Brazil can be a blueprint for future editions, so...
• 23:22
  Speaker 4: You know, all the names, and again, for all the
• 23:24
  Speaker 4: history buffs, all the names they pick, SFX. It's just
• 23:27
  Speaker 4: like signaling to me. I'm like, that was Bob Sillerman's
• 23:30
  Speaker 4: constant roll-up or the one that ended up becoming Live Nation.
• 23:33
  Speaker 4: I think somebody in Stockholm, Dan, has a sense of
• 23:35
  Speaker 4: humor or just doesn't know, but pretty funny to me. So, Dan,
• 23:39
  Speaker 4: if Spotify calls and says, we know exactly who's going
• 23:41
  Speaker 4: to buy tickets in your market, are you taking the
• 23:43
  Speaker 4: meeting or are you going to start worrying?
• 23:44
  Speaker 7: No, I mean, I think you want to hear that.
• 23:47
  Speaker 5: Anybody that's got data that can help us sell tickets easier,
• 23:49
  Speaker 5: direct to fan, you want to talk to them. Like,
• 23:52
  Speaker 5: If you got a cheat sheet, let's talk about it.
• 23:54
  Speaker 2: Here, here.
• 23:55
  Speaker 4: Maybe Spotify will be so good to give us that
• 23:57
  Speaker 4: data one day. Wouldn't that be a dream?
• 23:59
  Speaker 5: I'm sure they'd be happy to sell us access to
• 24:02
  Speaker 5: that data. I do not spend giving us that data.
• 24:06
  Speaker 5: And I don't know that they could even if they
• 24:07
  Speaker 5: wanted to, because I think there are laws that prevent that.
• 24:10
  Speaker 4: There may be, but I'm sure there's also some terms
• 24:12
  Speaker 4: and conditions that could be written up to license that information.
• 24:16
  Speaker 5: You know, the opt-in is such a pain in the
• 24:18
  Speaker 5: ass to the fans. I'm against it.
• 24:19
  Speaker 4: Like, Let the people that have the data service the data.
• 24:22
  Speaker 4: All right, that'll do it for News of the Month.
• 24:27
  Speaker 1: This is Bob Rue with Live Nation, and I'm on
• 24:29
  Speaker 1: Promoter 101.
• 24:30
  Speaker 4: Y'all know it would not be Promoter 101 without checking
• 24:34
  Speaker 4: out what Dan has been saying over the last month.
• 24:37
  Speaker 4: What's been on your mind, Dan? Starting with this one,
• 24:40
  Speaker 4: a little appropriate to the segment we just heard here.
• 24:42
  Speaker 4: When everyone is asking, what's next?
• 24:45
  Speaker 7: Travel, learning karate.
• 24:47
  Speaker 2: I don't fucking know. We'll figure it out, Luke.
• 24:49
  Speaker 4: Coming back in June 2027 as a black belt, Dan.
• 24:52
  Speaker 4: How about this one? First call of day. We know
• 24:55
  Speaker 4: it's our mistake. We can't honor that. You'll just have
• 24:58
  Speaker 4: to eat it. You gotta love that when that just
• 25:00
  Speaker 4: comes up that way, right?
• 25:01
  Speaker 5: It's just, what are you going to do? Like, we
• 25:04
  Speaker 5: don't care. We fucked up. You guys swallow it. Gotta
• 25:07
  Speaker 5: love this business.
• 25:08
  Speaker 4: Sounds like you're having a banner morning, Dan.
• 25:11
  Speaker 5: Was last Friday.
• 25:11
  Speaker 7: That's for sure.
• 25:13
  Speaker 4: How about this one?
• 25:14
  Speaker 2: A quote.
• 25:15
  Speaker 4: From Oasis Liam Gallagher, it takes a lot of caring
• 25:18
  Speaker 4: to not give a fuck.
• 25:20
  Speaker 5: You haven't seen that new documentary on Hulu? I highly
• 25:22
  Speaker 5: recommend it. Next level good. I think the new rock
• 25:26
  Speaker 5: doc documentaries are the new live albums.
• 25:30
  Speaker 4: I've not seen it yet. Certainly on a watch list
• 25:32
  Speaker 4: for me. I'll have to go check it out, Dan.
• 25:34
  Speaker 5: Special one right there. Shows brotherly love and brotherly angst
• 25:38
  Speaker 5: all tied together. And a lot of 50-year-old men crying
• 25:42
  Speaker 5: on an English football field.
• 25:44
  Speaker 6: Yeah.
• 25:44
  Speaker 4: That sounds like all of Wimbledon last summer.
• 25:47
  Speaker 5: They're all over the world, my friend, all over the world.
• 25:50
  Speaker 5: And I can hear everybody in Europe yelling at me
• 25:52
  Speaker 5: that it's a soccer pitch or a football pitch and
• 25:55
  Speaker 5: not a football field. So correction made.
• 25:58
  Speaker 4: Correction made. And like Liam said, it takes a lot
• 26:01
  Speaker 4: of carrying down to give a fuck, Dan.
• 26:03
  Speaker 5: That's where we're at these days.
• 26:04
  Speaker 4: That's a wrap on tweets of the month. Make sure
• 26:07
  Speaker 4: you keep up with Dan. He's over on X. He's
• 26:09
  Speaker 4: at the Jewel.
• 26:12
  Speaker 2: This is Bobby Clay from C3 Presents, and you're listening
• 26:14
  Speaker 2: to Promoter 101.
• 26:16
  Speaker 4: Now, usually Dan is the one with the microphone in
• 26:18
  Speaker 4: his hand asking questions to other people here, but recently
• 26:21
  Speaker 4: Dan took a venture across the bridge over to Oakland
• 26:24
  Speaker 4: for the Western Arts Alliance Conference 2026. He was joined
• 26:29
  Speaker 4: by Bruce Sallar from Paladin Artists, his good friend Rick
• 26:32
  Speaker 4: Farrell from the Gersh Agency, and a panel moderated by
• 26:35
  Speaker 4: top shelf Randy Vogel from the Mesa Arts Center where
• 26:38
  Speaker 4: they talked about a wide variety of issues, and was
• 26:41
  Speaker 4: one of the most attended panels during the conference.
• 26:43
  Speaker 1: Let's check it out.
• 26:48
  Speaker 2: Good morning, everyone.
• 26:49
  Speaker 5: Welcome to Big Agency Demystified.
• 26:52
  Speaker 3: We welcome you here to have a conversation about working
• 26:56
  Speaker 3: a little bit more in the commercial presenting world. I
• 26:59
  Speaker 3: brought together today three people that I realized that I
• 27:03
  Speaker 3: have worked with them over 25 years. They've probably worked
• 27:07
  Speaker 3: with each other longer than that. So for my far left,
• 27:11
  Speaker 3: I'm going to start is Dan Steinberg, who is with
• 27:14
  Speaker 3: Emporium Concerts and also a live nation company.
• 27:18
  Speaker 7: Bruce Solar.
• 27:19
  Speaker 5: Bruce is a legend in our industry right now. Legend.
• 27:22
  Speaker 5: A legend in the industry. It's written on his pad.
• 27:25
  Speaker 2: It must be true.
• 27:26
  Speaker 5: It's true.
• 27:27
  Speaker 2: I wrote it.
• 27:27
  Speaker 7: Legend. Legend. Now, how much do you have to pay
• 27:30
  Speaker 7: for that title?
• 27:31
  Speaker 5: At least two cake dates.
• 27:32
  Speaker 7: Yes.
• 27:33
  Speaker 5: And then Rick Farrell, who is with Gersh Agency.
• 27:37
  Speaker 3: I met Rick, though, when he was with ICM, when
• 27:40
  Speaker 3: ICM was kind of in that world of commercial and arts.
• 27:44
  Speaker 5: And so Rick has spanned both views here.
• 27:47
  Speaker 3: And so we've got some really great, wonderful people here
• 27:51
  Speaker 3: who can provide some information. So I wrote it as
• 27:56
  Speaker 3: Act One, Entering and Building Relationships. We're going to start
• 28:00
  Speaker 3: off with why commercial and where do I start? And
• 28:04
  Speaker 3: a little bit about why as an art presenter, you
• 28:08
  Speaker 3: want to do more commercial programming and.
• 28:12
  Speaker 7: Where to start.
• 28:13
  Speaker 5: So a little bit about that is where we'll go.
• 28:15
  Speaker 5: Let's start with Dan. Well, I think it's really simple.
• 28:18
  Speaker 5: I mean, most of you guys have a mission statement
• 28:21
  Speaker 5: for the arts and that is to bring a wide
• 28:23
  Speaker 5: variety of arts to your community that they're not being
• 28:26
  Speaker 5: serviced with otherwise. So you want variety. And you want
• 28:29
  Speaker 5: to bring as much variety to your market as possible.
• 28:32
  Speaker 5: So you're not only entertaining the people that live there,
• 28:35
  Speaker 5: but educating and bringing different culture and different acts to
• 28:38
  Speaker 5: your community. I mean, that's 90% of your mission statement
• 28:42
  Speaker 5: is to bring different arts into town, I believe.
• 28:44
  Speaker 3: Yeah.
• 28:45
  Speaker 9: And, you know, sometimes those commercial artists are the temples
• 28:49
  Speaker 9: that allow you to pay for the artists that aren't
• 28:53
  Speaker 9: making as much money, potentially like fine arts programming that
• 28:57
  Speaker 9: might be a loss leader, but are part of the
• 28:59
  Speaker 9: mission statement so that you're adding.
• 29:01
  Speaker 1: You know, the cultural value.
• 29:02
  Speaker 9: And, you know, a lot of times the commercial artists
• 29:05
  Speaker 9: are potentially looked down upon as not going towards a
• 29:09
  Speaker 9: mission statement, but if it pays the bills, it allows
• 29:11
  Speaker 9: you to present the other things.
• 29:13
  Speaker 1: Then that's the balance right there.
• 29:16
  Speaker 4: Yeah.
• 29:17
  Speaker 9: I remember Craig Springer told me one time, a nonprofit
• 29:21
  Speaker 9: is a tax status.
• 29:22
  Speaker 1: It's not a mission statement.
• 29:24
  Speaker 9: You've got to still continue to strive to make profit?
• 29:29
  Speaker 7: Well, you know, I started off, like, only thing I
• 29:33
  Speaker 7: would go to was this conference because I really couldn't
• 29:36
  Speaker 7: afford to fly to New York for APAP. And I love...
• 29:40
  Speaker 7: this conference because I thought you really got a lot
• 29:42
  Speaker 7: of great stuff out of it but I had a
• 29:44
  Speaker 7: commercial roster from the beginning and I had my own
• 29:48
  Speaker 7: company but I felt like I could relate to that
• 29:50
  Speaker 7: I think you're all in a unique place right now
• 29:54
  Speaker 7: because if anything it's getting back to that point where
• 29:57
  Speaker 7: there's a lot of independent agencies that have commercial artists.
• 30:04
  Speaker 7: And I know that independent agencies, easier to talk to,
• 30:08
  Speaker 7: easier to get to, easier to deal with at the beginning.
• 30:12
  Speaker 7: And it's important to get in with those people at
• 30:14
  Speaker 7: the beginning. I was looking at it a day before
• 30:16
  Speaker 7: I came here. There's probably a hundred independent agencies out there.
• 30:20
  Speaker 7: And I would say most of them have at least
• 30:23
  Speaker 7: a few really strong commercial artists or stuff that they're developing.
• 30:27
  Speaker 7: So I think I think it's a really good time
• 30:30
  Speaker 7: for that. Dan was always great about that from the beginning.
• 30:34
  Speaker 7: Dan had no fear. You'd see Dan at a conference
• 30:37
  Speaker 7: and he talked to everybody. And he was building, because
• 30:40
  Speaker 7: he had a really good independent promotion company. And I
• 30:43
  Speaker 7: think you knew that you had to get in people's faces.
• 30:46
  Speaker 5: Well, you miss 100% shots you don't take. The more
• 30:49
  Speaker 5: you throw it out there, you more to make sure
• 30:50
  Speaker 5: that people know you're an option, you're open for business,
• 30:52
  Speaker 5: the more comfortable they are calling you. You make it
• 30:54
  Speaker 5: very clear. I want to be in business with you.
• 30:57
  Speaker 5: The odds are you might hear from some, you might
• 31:00
  Speaker 5: not get the act you want from them, but if
• 31:02
  Speaker 5: you call Frank Riley enough, eventually he'll give you a
• 31:05
  Speaker 5: shot with something. You may not get Indigo Girls or
• 31:07
  Speaker 5: Ween on the first call, but he'll give you a
• 31:09
  Speaker 5: shot on something, and if you prove yourself on that,
• 31:12
  Speaker 5: maybe get something bigger, you prove yourself on that, Maybe
• 31:15
  Speaker 5: you get the Indigo.
• 31:15
  Speaker 7: Girls, right?
• 31:16
  Speaker 5: You've got to earn your way up, and you've got
• 31:18
  Speaker 5: to earn it, right? It's like you can't ask for
• 31:21
  Speaker 5: Madonna the first time you call CAA. You've got to
• 31:23
  Speaker 5: do that introduction, phone call, and prove it.
• 31:26
  Speaker 3: So I'd like to add in the question, too, because
• 31:28
  Speaker 3: I think that there's a misnomer here. Just because you
• 31:31
  Speaker 3: say a commercial artist doesn't make them not an artist,
• 31:35
  Speaker 3: is there any less talent between bringing Jacob Collier in,
• 31:40
  Speaker 3: who's on commercial rosters, than bringing someone else in, to
• 31:45
  Speaker 3: your venue. So, or all three of you are doing this.
• 31:49
  Speaker 3: Are you thinking, man, I've got a really great artist.
• 31:52
  Speaker 3: I just want the world to hear them. Or I've
• 31:54
  Speaker 3: got a really great artist that I just can, I
• 31:57
  Speaker 3: know I'm going to sell tickets here, which is the part.
• 32:00
  Speaker 5: That's coming up here.
• 32:01
  Speaker 6: And, and.
• 32:03
  Speaker 5: Well, I think the misnomer is that whether the word
• 32:06
  Speaker 5: commercial comes there or not, it doesn't matter because yo-yo ma,
• 32:08
  Speaker 5: I think we'd all consider a classical artist, but he
• 32:10
  Speaker 5: can sell out red rocks. And if I get the
• 32:13
  Speaker 5: call for a yo-yo ma day, I'm, I'm buying that
• 32:15
  Speaker 5: show and I'm not classifying it whether you consider it
• 32:19
  Speaker 5: commercial or not or whether you consider it classical. It's
• 32:21
  Speaker 5: a revenue leader and it's going to put people in
• 32:23
  Speaker 5: the room and it brings art to town that entertains people.
• 32:26
  Speaker 5: That's what we're looking for.
• 32:28
  Speaker 9: Me personally, I like a lot of different kind of
• 32:31
  Speaker 9: music that is not that commercially viable. I'm a huge
• 32:34
  Speaker 9: fan of blues, jazz, and I've had an opportunity to
• 32:38
  Speaker 9: work with a lot of artists in those areas and
• 32:40
  Speaker 9: just haven't signed them because they're not selling enough tickets,
• 32:44
  Speaker 9: there's not enough meat on the bone for the agency
• 32:47
  Speaker 9: to represent them, and it's disappointing to me.
• 32:50
  Speaker 1: But then you find something that.
• 32:51
  Speaker 9: You don't particularly love, but they work, they sell, and
• 32:56
  Speaker 9: it doesn't really matter at that point what your personal
• 32:59
  Speaker 9: taste is. So it's kind of a balance of knowing
• 33:03
  Speaker 9: somebody who's talented and commercially viable for the agency to
• 33:09
  Speaker 9: take on and dedicate resources to work with.
• 33:12
  Speaker 5: If you ever.
• 33:12
  Speaker 3: are looking for something to do in New York City
• 33:15
  Speaker 3: between 11.30 and 3 a.m. And you will feel like
• 33:20
  Speaker 3: being adventurous. Find Rick. Rick knows the club. He knows
• 33:25
  Speaker 3: where someone's playing. And he's headed down that way. And
• 33:29
  Speaker 3: you're going to hear something that you've never heard before
• 33:31
  Speaker 3: or someone really great.
• 33:33
  Speaker 1: Just saying.
• 33:34
  Speaker 5: It may be a late day, but let's move on.
• 33:36
  Speaker 3: I'm going to kind of keep moving through a couple
• 33:38
  Speaker 3: of subjects. So we kind of started here building relationships,
• 33:42
  Speaker 3: and I think that this is kind of a good
• 33:44
  Speaker 3: storytelling area a little bit and talk about building those relationships.
• 33:49
  Speaker 3: I do want to start, though, with one of my
• 33:52
  Speaker 3: comments in here, and that is, you know, as a buyer,
• 33:55
  Speaker 3: I've been one person as the booking departments for a
• 33:59
  Speaker 3: lot of my venues.
• 34:01
  Speaker 5: I can only do so much.
• 34:03
  Speaker 3: When I develop a relationship with, for example, Dan Steinberg
• 34:08
  Speaker 3: and Emporium, all of a sudden, I just hired another
• 34:12
  Speaker 3: buyer for the art center. I was getting 10 shows.
• 34:16
  Speaker 3: Maybe you can talk a little bit about your experience
• 34:19
  Speaker 3: there for a moment or two, and then maybe each
• 34:22
  Speaker 3: of you can talk about developing relationships with the venues
• 34:25
  Speaker 3: and buyers and how that all kind of fits.
• 34:30
  Speaker 5: When you're routing in a room, you're looking for... a
• 34:33
  Speaker 5: room that the act is gonna enjoy playing, that is
• 34:36
  Speaker 5: financially viable for the act, the venue, the promoter, and
• 34:40
  Speaker 5: the audience wants to go to, and that works for
• 34:44
  Speaker 5: your routing, right? So usually when I email Randy, I'm
• 34:47
  Speaker 5: emailing San Diego, I'm emailing Tucson, I'm emailing Phoenix, and
• 34:52
  Speaker 5: I'm emailing Albuquerque and Santa Fe at the same time
• 34:54
  Speaker 5: to figure out what all of their avails are so
• 34:56
  Speaker 5: I can figure out if I can make that circle
• 34:59
  Speaker 5: loop of what's available. Because I can usually jump from
• 35:02
  Speaker 5: any of those markets and get to the next one regardless,
• 35:05
  Speaker 5: but I need to figure out a chain to work through.
• 35:07
  Speaker 5: So if I know what Randy's avail is, he's got
• 35:10
  Speaker 5: the Tuesday. All right, do I have Tucson on the Wednesday?
• 35:13
  Speaker 5: Do I have Albuquerque on the Thursday? And can I
• 35:15
  Speaker 5: wind up in san diego on the friday so i
• 35:20
  Speaker 5: can play saturday in la and it's like where where
• 35:23
  Speaker 5: are we coming from where are we going and what
• 35:24
  Speaker 5: does everybody have but it's like that constant conversation of
• 35:29
  Speaker 5: this is what i'm thinking do you have anything on
• 35:30
  Speaker 5: top of me i'm coming through with brad williams which
• 35:33
  Speaker 5: is one of my tours is there any comedy that's
• 35:35
  Speaker 5: pop mainstream that you're holding with outback or possibly another
• 35:39
  Speaker 5: division of live nation comedy are you talking to somebody
• 35:42
  Speaker 5: else at another agency direct that has anything that competes
• 35:44
  Speaker 5: with that that week And does it look like it's
• 35:46
  Speaker 5: going to confirm? Because I don't want to wind up
• 35:48
  Speaker 5: with David Spade the day before Brad Williams plays The Room.
• 35:52
  Speaker 5: It's not good for his promoter and that act or
• 35:54
  Speaker 5: me and my act. And it's going to split Randy's
• 35:57
  Speaker 5: audience in half, right? So Randy has that information. Who
• 36:00
  Speaker 5: else is playing The Room? Is there anything that conflicts?
• 36:02
  Speaker 5: Is there any reason why we wouldn't want to play
• 36:04
  Speaker 5: this week?
• 36:05
  Speaker 3: Does my marketing department, the fact that you're partnering with
• 36:08
  Speaker 3: the show, is it better to partner with me or
• 36:11
  Speaker 3: then to rent my building?
• 36:13
  Speaker 5: And why do you want to I'd always prefer to
• 36:16
  Speaker 5: partner because I think it's better to have skin in
• 36:18
  Speaker 5: the game, right? It's just like everybody's bringing everything in, right?
• 36:21
  Speaker 5: You want me to have skin in the game because
• 36:23
  Speaker 5: if I'm bringing you an act, you want to know
• 36:25
  Speaker 5: that I can only make money if I sell it
• 36:28
  Speaker 5: and we do it. I want you there because I
• 36:30
  Speaker 5: want you to bring all of your resources to it,
• 36:32
  Speaker 5: whether that's your email list, maybe some rent goes in
• 36:36
  Speaker 5: the pot, whatever it is, your tax exemptness because you're
• 36:39
  Speaker 5: a city venue. All of those things help the show.
• 36:43
  Speaker 5: But at the same time, I want your knowledge of
• 36:45
  Speaker 5: the market. Hey, you were trying to do a Latin
• 36:48
  Speaker 5: show here, and that is way too close to Cinco
• 36:52
  Speaker 5: de Mayo. They're going to be broke coming out of
• 36:54
  Speaker 5: that weekend. This is a terrible weekend to play the
• 36:57
  Speaker 5: weekend after May 2nd. Don't do that here. It's not
• 37:01
  Speaker 5: going to work. Move that later in.
• 37:03
  Speaker 1: The summer, right?
• 37:04
  Speaker 5: Those things. But you have knowledge because your boot's on
• 37:06
  Speaker 5: the ground, and you know what works in your market
• 37:08
  Speaker 5: better than I do.
• 37:09
  Speaker 3: Let's make believe I got this Brad and Williams tour.
• 37:11
  Speaker 3: You're the one who owns the five dates. I'm not
• 37:14
  Speaker 3: getting it. Yeah, we're playing the celebrity.
• 37:16
  Speaker 5: It's one of two shows I'm doing in your market
• 37:18
  Speaker 5: this year that you didn't get. No, no, no, no, no.
• 37:21
  Speaker 5: I didn't mean it that way. We're worth more tickets
• 37:22
  Speaker 5: than you have. No, no, no.
• 37:24
  Speaker 3: I didn't mean it that way. I meant just an artist.
• 37:28
  Speaker 3: You're touring an artist for five shows. I'm not going
• 37:31
  Speaker 3: to call up that agent. I'm not going to call Rick.
• 37:33
  Speaker 5: You're never going to get the call. I'm not going
• 37:34
  Speaker 5: to get the call. I'm going to have the book
• 37:36
  Speaker 5: for the artist. I'll have the book for the artist
• 37:39
  Speaker 5: long before you know that it's touring.
• 37:41
  Speaker 3: The point I want to make here is I know
• 37:44
  Speaker 3: that we all want to say we own that show.
• 37:47
  Speaker 5: You're not going to get the show.
• 37:49
  Speaker 3: So if you want the show in your venue and
• 37:52
  Speaker 3: there's a promoter doing the five or ten dates and
• 37:55
  Speaker 3: you want that show in your building, then you need
• 37:58
  Speaker 3: to find a way to work out a relationship with
• 38:00
  Speaker 3: the promoter who's doing that show to make it part
• 38:03
  Speaker 3: of your season. And that is, it's always going to
• 38:07
  Speaker 3: exist because if someone's buying 10 shows, that's a hell
• 38:11
  Speaker 3: of a lot easier than selling 10 different shows.
• 38:14
  Speaker 5: To different promoters.
• 38:15
  Speaker 9: And, you know, when an artist, I work with a
• 38:18
  Speaker 9: lot of comedy these days, and when an artist starts
• 38:21
  Speaker 9: to sell more than 500 hard tickets consistently in a market,
• 38:25
  Speaker 9: there's going to be a company... Live Nation, Outback, AEG,
• 38:30
  Speaker 9: that wants to have the tour deal. They're going to
• 38:34
  Speaker 9: offer you as many markets as you're willing to take,
• 38:37
  Speaker 9: and they're going to go and do all the majors,
• 38:39
  Speaker 9: might even go to some of the secondaries. And sometimes
• 38:42
  Speaker 9: when we're working on routing with Dan, we're just talking
• 38:46
  Speaker 9: in general, we want a tour in the spring, and
• 38:48
  Speaker 9: he'll get all the avails, and he'll put the route
• 38:51
  Speaker 9: together for the act, and then come back to us
• 38:54
  Speaker 9: with the targets. And The venues are ones that make sense,
• 38:58
  Speaker 9: of course, but also ones that are responsive. We had
• 39:01
  Speaker 9: a deal recently where we wanted to go into a venue.
• 39:05
  Speaker 9: He was a little resistant to, and then we get
• 39:08
  Speaker 9: the deal done. And two months later, the venue's like,
• 39:11
  Speaker 9: here's all our new expenses. We changed the capacity. So
• 39:15
  Speaker 9: it was a hassle. And it was because the venue
• 39:20
  Speaker 9: doesn't communicate that well, even though he had some history
• 39:23
  Speaker 9: working with them he knew it was going to be
• 39:25
  Speaker 9: problematic and we just thought it was the right place
• 39:28
  Speaker 9: to play in the venue in the.
• 39:29
  Speaker 5: Market only we had warned you yeah.
• 39:31
  Speaker 9: Yeah he did warn us and you know things ended
• 39:35
  Speaker 9: up changing but that was one of the deterrents to
• 39:39
  Speaker 9: going to the venue they were not responsive to him
• 39:42
  Speaker 9: they were not forthcoming with all of the information so
• 39:44
  Speaker 9: he based his deal on a deal he did there
• 39:47
  Speaker 9: the year before and Expenses.
• 39:49
  Speaker 1: Changed, facility fee changed, all the rest.
• 39:52
  Speaker 9: And, you know, then we had to have a hard
• 39:54
  Speaker 9: conversation with management about the deal.
• 39:57
  Speaker 5: Bruce, are managers and agents okay when we change the
• 39:59
  Speaker 5: deal after it's contracted?
• 40:01
  Speaker 7: Not usually, unless it's to their advantage. Yeah, because that happens. But,
• 40:06
  Speaker 7: I mean, I prefer the co-pro idea because I feel
• 40:12
  Speaker 7: like a lot of times, okay, so I'll get a
• 40:15
  Speaker 7: call from... promoter at AEG, Live Nation, wherever, and they
• 40:18
  Speaker 7: want to bring somebody into a smaller market, into a facility,
• 40:22
  Speaker 7: I still want to talk to that person at that
• 40:24
  Speaker 7: facility because they just know more. I mean, it's just
• 40:27
  Speaker 7: because you're there. You know what sells. You know what works.
• 40:31
  Speaker 7: And usually, at the end of the day, selfishly, it
• 40:34
  Speaker 7: usually works to my advantage because where Live Nation or
• 40:37
  Speaker 7: AEG or whoever might say to me, the best merch
• 40:41
  Speaker 7: deal you're going to get is 70-30, the promoter in-house
• 40:44
  Speaker 7: might say, oh, we've given people 90-10 or 85-5 or whatever,
• 40:50
  Speaker 7: and got to go back to Live Nation and tell
• 40:52
  Speaker 7: them that. And they sort of have to live with that.
• 40:54
  Speaker 7: But I also like the fact, it's mainly the knowledge
• 40:58
  Speaker 7: of the market. And, you know, it bugs.
• 41:02
  Speaker 5: You know we're not parketing the extra 20%.
• 41:04
  Speaker 1: No, I know.
• 41:05
  Speaker 5: That goes to the venue. We're not stealing your merch money.
• 41:08
  Speaker 7: We're not touching it. I know that. Okay, just let's
• 41:10
  Speaker 7: be very clear. I'll make clear that Dan is not
• 41:14
  Speaker 7: stealing our merch money. I never have but there are
• 41:21
  Speaker 7: there's just like so many good reasons to work with
• 41:25
  Speaker 7: the local person because that becomes a long relationship too
• 41:29
  Speaker 7: you know and it and that person often moves on
• 41:33
  Speaker 7: to another venue or a bigger situation or a different
• 41:36
  Speaker 7: situation and you have that relation and you have that
• 41:40
  Speaker 7: relationship there's Plenty of promoters out there that I started
• 41:43
  Speaker 7: working with when they were independent, very independent, that work.
• 41:47
  Speaker 7: Dan's a good example, that work now. Bigger companies, there's
• 41:51
  Speaker 7: bigger opportunities, there's bigger whatever. And there's also, everybody's different.
• 41:57
  Speaker 7: So there's certain, like, I know there's certain promoters out
• 41:59
  Speaker 7: there at large companies that I don't want to work with.
• 42:03
  Speaker 5: Name them?
• 42:04
  Speaker 7: Yeah. I can, but I won't.
• 42:07
  Speaker 5: Wait, let me use my telepathic powers again.
• 42:10
  Speaker 7: Yeah, but there's also people at smaller companies and smaller
• 42:14
  Speaker 7: independent places that you work with one time and you're like,
• 42:18
  Speaker 7: I can't work with this person again because there's no flexibility,
• 42:22
  Speaker 7: there's no this, there's no that. They didn't market it
• 42:25
  Speaker 7: right for their market and they should have knowing it
• 42:28
  Speaker 7: was their market. So, I mean, there's a lot of
• 42:30
  Speaker 7: different ways to do it. I'm just saying preferably I'd
• 42:33
  Speaker 7: rather a co-pro if possible. You know, I'd rather do
• 42:38
  Speaker 7: a co-pro with people, but that's just usually because that
• 42:41
  Speaker 7: usually works out better. But sometimes it does.
• 42:43
  Speaker 5: You know, I think one of the greatest difference between
• 42:45
  Speaker 5: the presenters and commercial promoters is I don't come into
• 42:51
  Speaker 5: the agents saying I want this act. I wait for
• 42:53
  Speaker 5: them to call me and tell me this act is
• 42:55
  Speaker 5: touring and these are the markets we'd like you to do.
• 42:58
  Speaker 5: Or would you be interested in working in? So usually
• 43:01
  Speaker 5: when you're programming, you come to the conferences and you
• 43:03
  Speaker 5: see the showcases and go, I want this, this, and this.
• 43:05
  Speaker 5: And you're paying a premium because they're traveling in because
• 43:08
  Speaker 5: you're the anchor. You're the market. Maybe you're block booking.
• 43:10
  Speaker 5: When he calls me, they're on the road. I'm not
• 43:12
  Speaker 5: paying for travel. I'm not paying for rooms, most likely.
• 43:15
  Speaker 5: They're carrying their backline because they're in the bus and
• 43:17
  Speaker 5: he's routing through. It's like, we're in LA on this date.
• 43:19
  Speaker 5: We'd like you to do San Francisco, Seattle, Portland, Vancouver
• 43:23
  Speaker 5: the week after. Here's the timeframe. And this is roughly
• 43:26
  Speaker 5: what we're looking for. So I'm getting the band at
• 43:30
  Speaker 5: a much different rate because I'm not picking the dates,
• 43:32
  Speaker 5: and I'm not even picking the act, per se. I'm
• 43:34
  Speaker 5: just waiting for him to call me and tell me
• 43:36
  Speaker 5: what the specs are, and I'm saying yes or no
• 43:38
  Speaker 5: to him, essentially. There's a little bit of give and
• 43:40
  Speaker 5: the deal, and we work through that, but the difference
• 43:42
  Speaker 5: is I never say, Bruce, I want cake on this day.
• 43:46
  Speaker 5: I wait for Bruce to say, cake's going to play Phoenix.
• 43:49
  Speaker 5: Send me an offer and check these dates. I want cake,
• 43:52
  Speaker 5: but my venue's too small. But you have the other
• 43:54
  Speaker 5: venue that he has me bid him for.
• 43:56
  Speaker 7: Yeah, yeah.
• 43:57
  Speaker 5: Cool.
• 43:58
  Speaker 9: I mean, and when I first started working with Dan
• 44:01
  Speaker 9: before he was doing like these national tours and stuff,
• 44:05
  Speaker 9: you know, we'd be talking about an act and he
• 44:07
  Speaker 9: would put together an offer and just say, I'm interested
• 44:10
  Speaker 9: in working with this act.
• 44:11
  Speaker 1: Here's a TBA offer. It didn't matter which night of
• 44:14
  Speaker 1: the week it was.
• 44:15
  Speaker 9: And, you know, he's like, I'll wait and, you know,
• 44:18
  Speaker 9: give it a couple months and we're putting the routing
• 44:20
  Speaker 9: together in the region.
• 44:21
  Speaker 1: And it's like, hey, let's check this avail. Let's look
• 44:24
  Speaker 1: at this.
• 44:25
  Speaker 9: And you know, he was ready to go instead of,
• 44:28
  Speaker 9: you know, I need to have a Friday or Saturday.
• 44:31
  Speaker 9: I need to have this specific timeframe that works within
• 44:34
  Speaker 9: my season, or I need to have an answer by X.
• 44:38
  Speaker 9: It was, you know, here's the deal that makes sense
• 44:40
  Speaker 9: in the market. Let's do it when the artist is
• 44:43
  Speaker 9: coming through. And so that gave us a lot of
• 44:45
  Speaker 9: flexibility to be able to make it happen when the
• 44:49
  Speaker 9: artist was ready to head out.
• 44:50
  Speaker 7: I mean, going back to working with indie agencies, I'll
• 44:53
  Speaker 7: give you a couple of examples. Like Paul Lohr, right,
• 44:56
  Speaker 7: has a band called the Avett Brothers.
• 44:58
  Speaker 5: New Frontier Tyrant.
• 44:59
  Speaker 7: New Frontier. If you dealt with Paul Lohr eight, nine
• 45:01
  Speaker 7: years ago on that band, he would have sold you
• 45:04
  Speaker 7: that band. And he would have stayed as loyal as
• 45:06
  Speaker 7: he could for as long as he could on that band,
• 45:09
  Speaker 7: whether it became a co-pro or whatever else, as they built,
• 45:12
  Speaker 7: and now they're a big act.
• 45:13
  Speaker 5: Can I interject here?
• 45:14
  Speaker 7: Yeah.
• 45:15
  Speaker 5: I did the Avett Brothers in Mesa, the first tour.
• 45:18
  Speaker 7: Yeah.
• 45:19
  Speaker 3: I then knew Dan Steinberg, Emporium, was becoming the promoter
• 45:24
  Speaker 3: of doing a lot of their shows.
• 45:25
  Speaker 7: Right.
• 45:26
  Speaker 3: Dan and Paul, who always been very nice to me, said, Randy,
• 45:30
  Speaker 3: you're part of the shop?
• 45:32
  Speaker 7: Yeah.
• 45:32
  Speaker 3: And they've, they kept me a part of the tour
• 45:35
  Speaker 3: as long as they possibly could until it got too
• 45:39
  Speaker 3: big for Phoenix, I mean, for Mesa.
• 45:40
  Speaker 5: And had to move to the Phoenix and the bigger venues.
• 45:43
  Speaker 7: Yeah.
• 45:44
  Speaker 5: That's, you couldn't ask for more.
• 45:46
  Speaker 7: And the other example I was going to give is, is,
• 45:48
  Speaker 7: this is Zach, I'm sure you know, Gregory Allen Isapop, right?
• 45:52
  Speaker 7: Agent is Susie Gang at, ground control. You look at
• 45:55
  Speaker 7: their roster, it's emo, alternative rock. That's eclectic. Eclectic, right?
• 46:00
  Speaker 7: Susie's got this one act that went from playing nothing
• 46:05
  Speaker 7: to selling out multiple Red Rocks, you know, and doing
• 46:08
  Speaker 7: this around the country. And she still kept the act,
• 46:10
  Speaker 7: knock on wood, you know, she hasn't been stolen from
• 46:12
  Speaker 7: her and whatever. And she's another one that if you
• 46:15
  Speaker 7: worked with her from the beginning, she'll try to keep
• 46:18
  Speaker 7: you involved as long as she can. Sometimes it's impossible
• 46:22
  Speaker 7: for the agent to keep because there's other people that
• 46:25
  Speaker 7: get involved. Not so much the labels anymore, because they're
• 46:29
  Speaker 7: not as powerful as they were, but... The manager has
• 46:31
  Speaker 7: the managers to ban themselves sometimes, you know?
• 46:34
  Speaker 5: I'm going to just ask a couple of quick questions.
• 46:37
  Speaker 3: Do you prefer, in building relationships, talking a little bit
• 46:41
  Speaker 3: about how we build relationships with the agents, with different promoters,
• 46:45
  Speaker 3: do you prefer a phone or an email, text, conference,
• 46:49
  Speaker 3: you know, conferences?
• 46:50
  Speaker 5: Who prefers a butt dial?
• 46:52
  Speaker 6: Yeah.
• 46:53
  Speaker 2: Okay.
• 46:53
  Speaker 7: What I prefer, and he's going to laugh about this,
• 46:56
  Speaker 7: is I prefer phone call. I'm not the greatest at
• 47:00
  Speaker 7: returning them sometimes. But I do prefer it. I do
• 47:04
  Speaker 7: prefer it. And I do prefer it. And if you
• 47:07
  Speaker 7: have to call me three times or four times, it's whatever.
• 47:11
  Speaker 7: I'm not that serious about it that I have to
• 47:15
  Speaker 7: be there that moment to do it. But I really
• 47:18
  Speaker 7: want to get to know the person better that I'm
• 47:21
  Speaker 7: working with. You don't get to know the person really
• 47:23
  Speaker 7: by email. Sometimes it's just a necessity. And sometimes it's
• 47:27
  Speaker 7: something you have to do. And sometimes it's the only
• 47:30
  Speaker 7: way to get through to certain people, you know? For me,
• 47:32
  Speaker 7: it's still a phone call. Or it's like when my
• 47:36
  Speaker 7: thing came up on doing this thing here, it was
• 47:38
  Speaker 7: really kind of cool that I got a message from
• 47:41
  Speaker 7: like four or five people that I never heard of.
• 47:43
  Speaker 7: And I was like, well, I'd like to meet those
• 47:45
  Speaker 7: people because I don't know them, you know? that was
• 47:48
  Speaker 7: a big step forward in my development to say, yeah,
• 47:50
  Speaker 7: I'm going to do that, you know, type thing. Cause
• 47:52
  Speaker 7: I've always been a little bit like you about both. Right.
• 47:55
  Speaker 7: You can say it.
• 47:56
  Speaker 5: I think you now.
• 47:57
  Speaker 7: Yeah.
• 47:58
  Speaker 6: Yeah.
• 47:58
  Speaker 7: But I will, but I like the phone call.
• 48:01
  Speaker 5: Look, I think I like the phone. Doesn't matter how
• 48:03
  Speaker 5: it works. If an agent's comfortable sending me an email,
• 48:06
  Speaker 5: there's some agents that still use a fax machine. There's
• 48:08
  Speaker 5: some agents that like to jump on the phone. There's
• 48:11
  Speaker 5: some agents that text me. There's some agents that jump
• 48:13
  Speaker 5: into my social media and DM me. If you've got
• 48:16
  Speaker 5: product that's going to sell, I will communicate with you
• 48:19
  Speaker 5: with smoke signals if that's what you want. If you've
• 48:21
  Speaker 5: got something that's going to fill seats and you've got
• 48:23
  Speaker 5: a hot act, I will respond to you in any
• 48:25
  Speaker 5: format that you have, whether that's going to your office
• 48:28
  Speaker 5: and sitting there in person and having the conversation, whether
• 48:30
  Speaker 5: it's a combination. I like getting to know the people
• 48:32
  Speaker 5: I'm working with. You get the vibe. I've spent a
• 48:34
  Speaker 5: lot of time with all of you. And I think
• 48:37
  Speaker 5: over time, there's a shorthand that gets there where when
• 48:39
  Speaker 5: there's a problem, it's easier to address because you know
• 48:43
  Speaker 5: each other. And there's this moment of like, Hey, can
• 48:46
  Speaker 5: we work through this or is this going to end this? Or, hey,
• 48:49
  Speaker 5: you know, I had a great one a couple weeks ago.
• 48:51
  Speaker 5: We were in the middle of a hurricane in Hawaii
• 48:53
  Speaker 5: and the act wanted to play the show and the
• 48:55
  Speaker 5: governor said, it's a state of emergency. And literally, the
• 48:59
  Speaker 5: governor called and said, you're the only show in Hawaii
• 49:01
  Speaker 5: this week. You will not be opening doors tonight. That
• 49:05
  Speaker 5: will not happen. It's not lawful for you to do
• 49:07
  Speaker 5: a show. There's a state of emergency. And I had
• 49:09
  Speaker 5: to look it up because I'd never actually had a
• 49:11
  Speaker 5: governor tell me that. And My insurance is no good
• 49:15
  Speaker 5: the second a state of emergency is called, and it
• 49:17
  Speaker 5: is not lawful to hold public assembly. So if somebody
• 49:21
  Speaker 5: had gotten hurt, not only am I financially responsible, I could,
• 49:26
  Speaker 5: if somebody had gotten hurt going home, I could have
• 49:29
  Speaker 5: been criminally responsible too. It changes everything, but you want
• 49:33
  Speaker 5: to have those conversations. So when I called the artist
• 49:36
  Speaker 5: and said, we have to move the date tonight, and
• 49:38
  Speaker 5: he was like, we're already in Hawaii. And I'm just like, right,
• 49:40
  Speaker 5: but we could go to jail if somebody gets hurt.
• 49:42
  Speaker 5: We can't do the show. We have to come back
• 49:44
  Speaker 5: to Hawaii, not the worst thing in the world. But
• 49:47
  Speaker 5: those levels of communication that the artist could hear in
• 49:49
  Speaker 5: my voice, I'm not screwing around, like, we don't have
• 49:53
  Speaker 5: a show tonight. I don't care that it's sold out.
• 49:54
  Speaker 5: I don't care that we're here. We don't have the
• 49:56
  Speaker 5: ability to put you on stage. And he could hear
• 49:59
  Speaker 5: it in my voice. His people could hear it. And
• 50:01
  Speaker 5: we immediately moved to the next part, which was, what's
• 50:03
  Speaker 5: the next available date that the venue has and you have?
• 50:06
  Speaker 5: So when we send this email out in five seconds saying,
• 50:08
  Speaker 5: please don't drive on the roads, by the way, we'll
• 50:10
  Speaker 5: be back January 16th. And it moved quickly because we
• 50:13
  Speaker 5: knew everybody and it was very fast. Everybody understood the tone.
• 50:17
  Speaker 5: Everybody got how important the safety of the fans were.
• 50:20
  Speaker 5: And once the artist realized it wasn't about, could we
• 50:24
  Speaker 5: pull the show off? It was about, can we get
• 50:26
  Speaker 5: the fans home safely afterwards? And it turned out the
• 50:28
  Speaker 5: road between Hilo and Kona washed out after the show,
• 50:32
  Speaker 5: people would not have been able to get home. And
• 50:34
  Speaker 5: what could have happened if they were on the road
• 50:36
  Speaker 5: trying to get home? Like, forget liability's sake, just people
• 50:39
  Speaker 5: could have died. The second it goes from entertainment to
• 50:41
  Speaker 5: life or death, like, there's not even a contest there.
• 50:44
  Speaker 5: You don't want that. Yeah.
• 50:46
  Speaker 9: For me, you know, I get a lot of incoming
• 50:49
  Speaker 9: unsolicited inquiries and I'll look at emails, take phone calls.
• 50:54
  Speaker 9: I've had people reach out to me on social media,
• 50:56
  Speaker 9: on LinkedIn, but You know, you kind of judge a
• 51:00
  Speaker 9: little bit of their professional capability if they're reaching out
• 51:04
  Speaker 9: to you on a social media or LinkedIn because they
• 51:07
  Speaker 9: should be able to find your phone number somehow or
• 51:10
  Speaker 9: email and reach out to you. If somebody is new
• 51:13
  Speaker 9: that I'm getting something from, and I see it's from a,
• 51:16
  Speaker 9: you know, AOL email or a hotmail, I'm definitely judgmental
• 51:20
  Speaker 9: and they're independent and they're not working for a venue.
• 51:22
  Speaker 1: It's like, how legit can this person be?
• 51:25
  Speaker 9: But then you get something from a venue with their address.
• 51:30
  Speaker 1: And all that stuff.
• 51:31
  Speaker 9: Like, I want to know more about this venue. If
• 51:34
  Speaker 9: it's a new place or a new person at the venue,
• 51:35
  Speaker 9: I'll reach out and call them after that. But you know,
• 51:39
  Speaker 9: you can make a little bit of a judgment on
• 51:41
  Speaker 9: their legitimacy. Of course, you look up the person's name
• 51:45
  Speaker 9: and see if their company is legit and things like that. But,
• 51:49
  Speaker 9: you know, there's nothing better than getting on the phone
• 51:52
  Speaker 9: and having that, well, I guess, meeting face to face.
• 51:55
  Speaker 9: Another thing I like to do is go out and
• 51:57
  Speaker 9: visit venues to have a better understanding of what the
• 52:00
  Speaker 9: venue is, but then you really can connect and make
• 52:02
  Speaker 9: that relationship solidified because the person on the other end
• 52:06
  Speaker 9: knows that you care and knows that now you're a
• 52:09
  Speaker 9: person that they've met face to face and you're not
• 52:12
  Speaker 9: just some agent that is potentially a bad person on
• 52:17
  Speaker 9: the other end of the line so you know i
• 52:19
  Speaker 9: i definitely can communicate any which way but there's a
• 52:23
  Speaker 9: certain kind of judgment depending on on how you reach out.
• 52:27
  Speaker 3: So i'm going to i'm going to go up add
• 52:29
  Speaker 3: on to this a little and push this a little
• 52:30
  Speaker 3: bit further Am I wasting your time talking about your roster,
• 52:34
  Speaker 3: but I'm not really buying today? I mean, is the
• 52:37
  Speaker 3: personal relationship still more important than me just saying, hey, Rick,
• 52:41
  Speaker 3: I'm not looking for anything right now.
• 52:43
  Speaker 5: I mean, I'd like to hear about your roster, but
• 52:47
  Speaker 5: I'd just like.
• 52:47
  Speaker 3: To introduce myself to you, give you some info about
• 52:51
  Speaker 3: my building, and let's talk. Or, If I'm friendly with
• 52:55
  Speaker 3: you a little bit, I mean, I know before COVID,
• 52:57
  Speaker 3: I used to be more like this is I used
• 52:59
  Speaker 3: to have conversations with agents and just call them up
• 53:02
  Speaker 3: for the hell of it because I used to just
• 53:04
  Speaker 3: do that and just say, what the hell do you
• 53:05
  Speaker 3: do this weekend?
• 53:06
  Speaker 1: What's up?
• 53:06
  Speaker 5: How you doing?
• 53:07
  Speaker 3: No purpose for any specific show business at all. But
• 53:12
  Speaker 3: the reality was I was still building my relationships. Is
• 53:16
  Speaker 3: that still have value? Is there still time for that?
• 53:19
  Speaker 3: Does that mean anything nowadays?
• 53:21
  Speaker 6: Yes.
• 53:22
  Speaker 5: Do you want me to call you up again and
• 53:23
  Speaker 5: just say, hey, what's up? I don't mind a phone
• 53:26
  Speaker 5: call over the check-in and just like, I'm friends with
• 53:28
  Speaker 5: all of you and like, it's not uncommon for me
• 53:31
  Speaker 5: to know what's going on in your life. I know
• 53:33
  Speaker 5: that your daughter's living overseas. I know that you're paying
• 53:35
  Speaker 5: a lot of attention to that right now. You know,
• 53:38
  Speaker 5: I know what Rick's going through in his life and like,
• 53:40
  Speaker 5: those challenges. I know what Bruce is going through when
• 53:43
  Speaker 5: he calls me from different places and how loud it
• 53:45
  Speaker 5: is in the background when he realizes he butt-dialed me.
• 53:47
  Speaker 5: So like, we have those conversations, but I enjoy getting
• 53:51
  Speaker 5: to know the people I work with, and it's great.
• 53:53
  Speaker 5: Then you see them. They're friends. You want to do
• 53:55
  Speaker 5: business with your friends. It's a lot easier than doing
• 53:57
  Speaker 5: business with your enemies.
• 53:58
  Speaker 7: I'll tell you the most annoying thing about that, though,
• 54:01
  Speaker 7: is when people you deal with a lot come up
• 54:04
  Speaker 7: to you at conferences, they'll come up and you deal
• 54:06
  Speaker 7: with them all the time, and you talk to them
• 54:08
  Speaker 7: on the phone all the time, and they'll come up
• 54:11
  Speaker 7: to you and say, can we go through your roster?
• 54:13
  Speaker 7: It's like, why? You know my roster. You know whatever,
• 54:17
  Speaker 7: and there's so many people there, and you want to
• 54:19
  Speaker 7: meet with those people. I'll bet you Rick knows these
• 54:22
  Speaker 7: people I'm talking about because they do it with like everybody.
• 54:25
  Speaker 7: And they're not bad people, but I don't want to spend,
• 54:28
  Speaker 7: it's work too for all of us. It's work. And
• 54:31
  Speaker 7: we're trying to, I'd rather meet someone new. I'd rather
• 54:34
  Speaker 7: someone I didn't know come up to me and talk
• 54:37
  Speaker 7: to me and tell me about their venue and tell
• 54:39
  Speaker 7: me whatever. Then people I work with, yes, I like
• 54:43
  Speaker 7: that every once in a while people check in that
• 54:45
  Speaker 7: I've worked with for years, but At these conferences, that's
• 54:49
  Speaker 7: like a bane for me. Like, you know, Liz, you're
• 54:52
  Speaker 7: sitting back there, right? We've known each other, what, 40 years,
• 54:56
  Speaker 7: 35 years? In every kind of thing. I like Liz.
• 55:00
  Speaker 7: If she calls me, that's great. But she's not going
• 55:04
  Speaker 7: to come up here to me and say, can I
• 55:06
  Speaker 7: go through your roster with you? Because she knows it already,
• 55:10
  Speaker 7: you know? If she has a new venue, I want
• 55:12
  Speaker 7: to hear about it. I want to know. If she
• 55:14
  Speaker 7: has a social thing going on, I want to know
• 55:17
  Speaker 7: about it, whatever. So it depends on what the conversation
• 55:20
  Speaker 7: is and stuff. I think it is important to meet
• 55:23
  Speaker 7: more people, know more people, whatever else. But it can be,
• 55:29
  Speaker 7: as an agent, it can be kind of annoying sometimes.
• 55:32
  Speaker 5: Rick had a story about one of the arts conferences
• 55:34
  Speaker 5: a while ago that somebody would come up to the
• 55:36
  Speaker 5: booth and ask about the price on every artist. And
• 55:39
  Speaker 5: he asked about an artist that just wasn't touring.
• 55:41
  Speaker 6: Yeah.
• 55:41
  Speaker 5: And it was a really famous, like Ellen or Chris
• 55:44
  Speaker 5: Rock or something. It was a really big act that
• 55:46
  Speaker 5: would never have played their room.
• 55:47
  Speaker 2: Oh, I did that to you. No, this wasn't you.
• 55:49
  Speaker 5: But it was like, they wanted a number from Rick.
• 55:52
  Speaker 5: And Rick's like, well, they're not working. And they wanted
• 55:53
  Speaker 5: the number. And Rick was like, to get them to
• 55:55
  Speaker 5: work while they're not working, it would probably be, I
• 55:57
  Speaker 5: don't know, it was like $ 350, 000 or something. Some number
• 55:59
  Speaker 5: that was ridiculously more than they're worth. But it was like,
• 56:02
  Speaker 5: to get them to work while they're not working, it
• 56:04
  Speaker 5: would probably take this. And he's like, oh, pass.
• 56:06
  Speaker 1: Yeah, then the guy said to me, I'm going to pass.
• 56:10
  Speaker 4: Which.
• 56:11
  Speaker 10: pissed him off to no end because he was like
• 56:13
  Speaker 10: it wouldn't make sense please don't act like there's a
• 56:15
  Speaker 10: million acts I have that should play your room this
• 56:17
  Speaker 10: act is not working right now and it was just
• 56:20
  Speaker 10: and then it but that person ended on a bad
• 56:22
  Speaker 10: note because it pissed.
• 56:23
  Speaker 5: Him off so much because they passed it on act
• 56:25
  Speaker 5: he never pitched.
• 56:26
  Speaker 3: Them yeah but but you know it's funny when Dan
• 56:29
  Speaker 3: says that sometimes the other big agencies do show up
• 56:32
  Speaker 3: there's a good use of their time and there's a
• 56:35
  Speaker 3: bad use of their time be respectful of the time
• 56:38
  Speaker 3: that they've got if you're going in there and you
• 56:41
  Speaker 3: know that you're walking into Nordstrom's, know you're going to
• 56:43
  Speaker 3: pay two times more than what you're going to pay
• 56:46
  Speaker 3: for at Mervin's.
• 56:47
  Speaker 5: You know, is Mervin's still in business? Mervin's in California.
• 56:53
  Speaker 7: He's old.
• 56:54
  Speaker 5: Okay, I'm sorry. Old Navy. I'm back to the Sears.
• 56:57
  Speaker 5: Old Navy. Old Navy. Know you're going to pay more.
• 57:01
  Speaker 7: Old Navy, maybe.
• 57:02
  Speaker 5: Old Navy.
• 57:03
  Speaker 3: But but but so so here's this is one that
• 57:08
  Speaker 3: and I've been kind of following the time trying to
• 57:10
  Speaker 3: keep a little bit on the scale here is can.
• 57:13
  Speaker 5: You show me the rest of your roster, please?
• 57:16
  Speaker 3: I mean, I'm at the conferences and I get the
• 57:19
  Speaker 3: same list of artists every single time.
• 57:22
  Speaker 5: And I'm looking over on the right hand side of
• 57:25
  Speaker 5: the column. Not a big, huge artist.
• 57:27
  Speaker 3: But just someone else I'd like to see other than
• 57:30
  Speaker 3: I'm not going to name that artist that I get
• 57:32
  Speaker 3: named every single time. And that's like, how do we
• 57:36
  Speaker 3: move past that standard list to what you want to
• 57:43
  Speaker 3: what I want?
• 57:43
  Speaker 7: I think the problem for agencies is, you know, and
• 57:47
  Speaker 7: it's getting to be that way for us, too. I mean,
• 57:50
  Speaker 7: is that sometimes you have so many artists, right? that
• 57:54
  Speaker 7: if you actually had the entire thing out there, it
• 57:59
  Speaker 7: would get lost. Everybody would get lost. What we do
• 58:02
  Speaker 7: now is we do more like a booklet and we
• 58:06
  Speaker 7: highlight a lot of artists and we put the roster
• 58:08
  Speaker 7: in as a link, you know, to look at the
• 58:11
  Speaker 7: rest of the roster. But I think that's the main
• 58:14
  Speaker 7: reason people do it. At least for us, it got
• 58:17
  Speaker 7: to a point where you're going over five, six pages
• 58:20
  Speaker 7: of artists and that's not really, That's taking everyone's time,
• 58:24
  Speaker 7: including the person that's asking. But I think and also
• 58:27
  Speaker 7: I think when people approach you at a conference, they
• 58:30
  Speaker 7: should have if there's someone that they don't see on
• 58:33
  Speaker 7: your roster, but they know you represent it. They should
• 58:36
  Speaker 7: know to ask you about it if they're prepared to
• 58:39
  Speaker 7: meet with you. I think I don't know. But that's
• 58:42
  Speaker 7: that's how we.
• 58:43
  Speaker 5: Hey, Randy, before you move on, I think one of
• 58:46
  Speaker 5: the reasons we work with a lot of venues is
• 58:47
  Speaker 5: you guys have set budget. I know a lot of
• 58:50
  Speaker 5: rooms get that phone call where they get the act
• 58:52
  Speaker 5: they wanted that they never thought was going to come through,
• 58:54
  Speaker 5: and your brochure is done, your season is done, your
• 58:57
  Speaker 5: budget is spent, and then you get the phone call,
• 59:00
  Speaker 5: Jason Mraz could play your room that night, and you
• 59:03
  Speaker 5: want it, and you're out of money. Live Nation is
• 59:06
  Speaker 5: a perfect partner in that scenario because we have an
• 59:09
  Speaker 5: individual checkbook when it comes to doing shows like that.
• 59:12
  Speaker 5: It's like, hey, we've got this avail. We don't have
• 59:15
  Speaker 5: the budget. Do you guys want to come in and
• 59:16
  Speaker 5: do this with us? Can we figure out a deal?
• 59:18
  Speaker 5: We have the avail. Do you know the agent? And
• 59:20
  Speaker 5: we wind up popping into a lot of markets because
• 59:22
  Speaker 5: the venue got the phone call first saying, hey, we've
• 59:25
  Speaker 5: got the show, but we're out of budget. We think
• 59:27
  Speaker 5: this would be great. And that's where we wind up
• 59:29
  Speaker 5: partnering with a lot of venues is figuring out, oh,
• 59:31
  Speaker 5: here's an extra show that can play the market, but
• 59:34
  Speaker 5: it's coming in late because they didn't have the avail
• 59:36
  Speaker 5: and the budget was already committed, but they have the night.
• 59:38
  Speaker 5: And that's where we wind up as partners is like, oh,
• 59:40
  Speaker 5: the risk is too much. We've got 100,000 left. They
• 59:43
  Speaker 5: need 180,000. Can you guys come in 50-50? You know,
• 59:46
  Speaker 5: stuff like that. So it's like we wind up playing
• 59:48
  Speaker 5: a checkbook quite a bit too, which is why the
• 59:50
  Speaker 5: PACs tend to like have a relationship with us at
• 59:54
  Speaker 5: the end is because there's a limited number of budget
• 59:56
  Speaker 5: for the year that they're allocated and And you guys
• 59:58
  Speaker 5: book out far in advance because your season is particular.
• 1:00:01
  Speaker 5: And that's where we come to be a good partner. Hey,
• 1:00:03
  Speaker 5: I'm scared of this. I don't know if we can
• 1:00:05
  Speaker 5: actually hit that number. I'd like to spread the risk.
• 1:00:08
  Speaker 3: We're going to give a moment because we've been doing
• 1:00:09
  Speaker 3: a lot of talking. A couple of questions for you all.
• 1:00:12
  Speaker 3: If someone wants to answer the question, please do. There's
• 1:00:14
  Speaker 3: a microphone there. If you have a loud enough voice,
• 1:00:17
  Speaker 3: just shout it out. What are some of the biggest
• 1:00:20
  Speaker 3: barriers that you guys are having in doing commercial work
• 1:00:23
  Speaker 3: in your venues?
• 1:00:24
  Speaker 5: Anyone have anything that they'd like to talk about that
• 1:00:27
  Speaker 5: maybe we can address?
• 1:00:34
  Speaker 7: And what's your name?
• 1:00:36
  Speaker 6: Okay.
• 1:00:37
  Speaker 7: What's the venue?
• 1:00:50
  Speaker 5: I think we did Brad Williams last year with you guys. Yeah,
• 1:00:52
  Speaker 5: and I'd like to do more, because it just makes
• 1:00:55
  Speaker 5: sense and it's a great route, and I would love for,
• 1:00:59
  Speaker 5: I don't know if it's promoter, I think it's a
• 1:01:02
  Speaker 5: variety of promoters blocking this out, or I'll be told, like, well,
• 1:01:07
  Speaker 5: the artist only wants to play, like... they don't want
• 1:01:11
  Speaker 5: to saturate the market and like that's not a saturation
• 1:01:14
  Speaker 5: of the market to play like a MCL.
• 1:01:16
  Speaker 7: So it is frustrating because of course.
• 1:01:19
  Speaker 1: You know, my patrons are always like, oh, you should
• 1:01:22
  Speaker 1: just pick the show.
• 1:01:23
  Speaker 7: They're going to be in Portland and Seattle. You could
• 1:01:25
  Speaker 7: just pick them up.
• 1:01:26
  Speaker 5: I'm like, that's a brilliant idea. But you're still a
• 1:01:28
  Speaker 5: hundred miles from Portland. So you should be outside the radius. Seattle,
• 1:01:33
  Speaker 5: you're a different media market and you need to point
• 1:01:35
  Speaker 5: that out when you're talking to the agents.
• 1:01:36
  Speaker 6: Yes.
• 1:01:37
  Speaker 5: Cause we would, I would waive my mileage radius for that.
• 1:01:39
  Speaker 5: It doesn't bother me. Tacoma won't, but Seattle would.
• 1:01:47
  Speaker 6: Yeah.
• 1:01:47
  Speaker 5: Those people won't go back and forth, but getting them
• 1:01:49
  Speaker 5: to waive it could be a little harder. You're a
• 1:01:53
  Speaker 5: different media market. Go at, we'll go.
• 1:01:56
  Speaker 7: Yeah. Promise not.
• 1:01:57
  Speaker 5: You can't afford it. You can't afford social media in
• 1:01:59
  Speaker 5: Seattle anyway. So you're not going to be trying to
• 1:02:01
  Speaker 5: compete with my Seattle date. And But as long as
• 1:02:04
  Speaker 5: you make it very clear that you won't be promoting
• 1:02:06
  Speaker 5: in the market and that you're a different media market,
• 1:02:10
  Speaker 5: he is the agent can come back to me and say,
• 1:02:12
  Speaker 5: will you waive your mileage radius for Olympia? And when
• 1:02:16
  Speaker 5: we did this, I've got a Santa Barbara show and
• 1:02:18
  Speaker 5: he wanted to play San Luis Obispo. And I was like,
• 1:02:20
  Speaker 5: you can't go up until after my date plays, but
• 1:02:23
  Speaker 5: you can do it. Like I would I would waive
• 1:02:26
  Speaker 5: that or I would say I want to promote the
• 1:02:28
  Speaker 5: show there, but I'll bring it in.
• 1:02:30
  Speaker 9: Technically, having to wait until after your date plays is
• 1:02:34
  Speaker 9: not waving the radius, but I hear what you're saying.
• 1:02:38
  Speaker 9: Another way to do that is find out who the
• 1:02:40
  Speaker 9: promoter is and get them to GoPro with you or
• 1:02:43
  Speaker 9: rent the building and say, you know, have the agent
• 1:02:46
  Speaker 9: contact that promoter and say, there's an opportunity here to.
• 1:02:50
  Speaker 1: Add another date, and then they will come.
• 1:02:53
  Speaker 9: Be overseeing the marketing or controlling the marketing with your
• 1:02:58
  Speaker 9: people and know that it's really not going to step
• 1:03:01
  Speaker 9: on their other play. So maybe having those relationships with
• 1:03:07
  Speaker 9: the promoters who are doing the shows in Seattle will
• 1:03:10
  Speaker 9: then allow you to get them to route through your
• 1:03:14
  Speaker 9: building as well.
• 1:03:15
  Speaker 7: Also know that the, it's got to be a show
• 1:03:16
  Speaker 7: that you know both promoters are going to do well with.
• 1:03:24
  Speaker 7: Because a lot of times I get asked that question
• 1:03:27
  Speaker 7: with certain acts and it's like, well, it's 90 miles away. Yeah,
• 1:03:31
  Speaker 7: but they're actually going to draw from the other market
• 1:03:34
  Speaker 7: and your show is only going to do half a
• 1:03:36
  Speaker 7: house and that show is going to do half a house,
• 1:03:39
  Speaker 7: but you really have to do more than half a
• 1:03:40
  Speaker 7: house to make money. So you need that extra 50,
• 1:03:43
  Speaker 7: 70 people to make it work. So it has to be,
• 1:03:46
  Speaker 7: all that has to be taken in consideration. You know,
• 1:03:49
  Speaker 7: everybody wants to book dates. Everybody wants to play A lot.
• 1:03:52
  Speaker 7: You know, and bands love to do short drives. Trust me,
• 1:03:55
  Speaker 7: you know, but it depends. I mean, but I do
• 1:03:59
  Speaker 7: think that if you talk directly, like Rick said, to
• 1:04:02
  Speaker 7: the promoters and to the agents, that most, a lot
• 1:04:07
  Speaker 7: of times, I won't say most of the times, a
• 1:04:09
  Speaker 7: lot of times you can work it out.
• 1:04:11
  Speaker 5: But Colorado Springs and Denver are within 100 miles, but
• 1:04:14
  Speaker 5: they both play. And sometimes Boulder and Denver, which are
• 1:04:16
  Speaker 5: 36 miles apart, both play. As long as everybody understands...
• 1:04:21
  Speaker 5: And the market's picking on what can work.
• 1:04:23
  Speaker 3: You have a, like, for example, in Phoenix, you brought
• 1:04:26
  Speaker 3: out a really interesting point. Phoenix is 61 miles to
• 1:04:31
  Speaker 3: the newest building that got built across from Mesa Art Center.
• 1:04:35
  Speaker 3: 61 miles is a lot of miles in a lot
• 1:04:38
  Speaker 3: of communities. In the Phoenix area, it's a 45-minute drive. So, sometime,
• 1:04:44
  Speaker 3: or it's a three-hour drive. It all depends on what
• 1:04:47
  Speaker 3: time of day now. But, The problem is that it
• 1:04:52
  Speaker 3: is one singular media market.
• 1:04:56
  Speaker 5: So if we.
• 1:04:57
  Speaker 1: Phoenix's.
• 1:04:58
  Speaker 5: Phoenix's, right. One year you talk about Scottsdale and Chandler. Chandler, Peoria,
• 1:05:04
  Speaker 5: all the way. So it's like, I mean.
• 1:05:05
  Speaker 3: Prescott would be different, right? Prescott's a different... Tucson's a
• 1:05:09
  Speaker 3: different market. Tucson's a different market. So what happens is
• 1:05:15
  Speaker 3: the only way I think the change that's going to
• 1:05:17
  Speaker 3: happen in Phoenix that we're all going to at some
• 1:05:20
  Speaker 3: point get used to, that means me too, is we're
• 1:05:24
  Speaker 3: going to block book a show in Mesa and we're
• 1:05:27
  Speaker 3: going to put the show in, let's say, let a
• 1:05:29
  Speaker 3: show go in Peoria that's 61 miles away and say,
• 1:05:32
  Speaker 3: we're both booking this. Our marketing plans are going to
• 1:05:35
  Speaker 3: be working together and we're going to be marketing them
• 1:05:39
  Speaker 3: together as a test to see if we are dividing
• 1:05:43
  Speaker 3: our markets because we've got over five and a half million,
• 1:05:46
  Speaker 3: close to six million people living there. There's enough people
• 1:05:50
  Speaker 3: living there. The issue has been the competing marketing that
• 1:05:54
  Speaker 3: you're doing to promote a show and the perception of that.
• 1:05:58
  Speaker 3: So I think that that's an issue that's going to
• 1:06:01
  Speaker 3: have to be overcome.
• 1:06:02
  Speaker 5: Bruce is going to say to me, if I can
• 1:06:03
  Speaker 5: sell two nights in your market, why don't we just
• 1:06:05
  Speaker 5: do two nights in the same room and give the
• 1:06:06
  Speaker 5: band and crew a day off? Or play a bigger room.
• 1:06:09
  Speaker 1: And just do it in one night?
• 1:06:10
  Speaker 7: Yeah, depends on the.
• 1:06:12
  Speaker 5: And then we can go play Tucson the next night
• 1:06:13
  Speaker 5: and get goodie twice.
• 1:06:14
  Speaker 2: Good counter.
• 1:06:15
  Speaker 5: No question. Why Crested? Then I have to sleep over.
• 1:06:18
  Speaker 5: I mean, because your market is... Sorry, Scott. Crested's great.
• 1:06:24
  Speaker 7: It's really dependent on the market. Like, I book shows
• 1:06:27
  Speaker 7: in New Jersey that are 10 miles away from my
• 1:06:29
  Speaker 7: show in Brooklyn, and it doesn't matter to either. But
• 1:06:34
  Speaker 7: it really depends on the market for everything, and the advertising.
• 1:06:38
  Speaker 5: It's a super great topic because we're Love Beach, and
• 1:06:41
  Speaker 5: we have the same kind of challenge as being a
• 1:06:44
  Speaker 5: really saturated.
• 1:06:46
  Speaker 4: L.A.
• 1:06:46
  Speaker 8: Market.
• 1:06:47
  Speaker 7: You're in a tough market.
• 1:06:49
  Speaker 5: Is that that 2,800-seater and that, like, 800-seater? We're 1,000-seat
• 1:06:52
  Speaker 5: and 250-seat.
• 1:06:55
  Speaker 7: Okay. Yeah, you're in a really tough market. You're right.
• 1:06:58
  Speaker 9: We are.
• 1:06:59
  Speaker 5: But they're also, people aren't, you know, our long niche
• 1:07:04
  Speaker 5: doesn't go really that often into L.A. for the same show.
• 1:07:09
  Speaker 5: That's going to be in Long Beach. Like you said,
• 1:07:11
  Speaker 5: if we could sell out and the L.A.
• 1:07:14
  Speaker 7: Venue can sell out, to me it makes sense.
• 1:07:18
  Speaker 5: That we've done it.
• 1:07:19
  Speaker 10: But it's a really hard sell to a lot of.
• 1:07:21
  Speaker 5: Well, you can be a different leg, too, than L.A.
• 1:07:22
  Speaker 5: because most of the acts are going to come through
• 1:07:24
  Speaker 5: there for media multiple times.
• 1:07:25
  Speaker 7: Or you can block... Maybe it's block booking with one
• 1:07:30
  Speaker 7: or two other promoters and saying, here's three dates. We
• 1:07:33
  Speaker 7: all feel we're going to do one. And that's what
• 1:07:34
  Speaker 7: I think that Ramble was saying. I think that's something
• 1:07:36
  Speaker 7: that we.
• 1:07:37
  Speaker 5: You've got a thousand camp at Long Beach?
• 1:07:40
  Speaker 7: Which one is it?
• 1:07:41
  Speaker 8: Carpenter Center oh yeah that's a great one it.
• 1:07:45
  Speaker 5: Seems like a great test market like the same way
• 1:07:47
  Speaker 5: you guys use it at Santa Barbara as a warm
• 1:07:48
  Speaker 5: up show instead of playing LA proper that seems like
• 1:07:51
  Speaker 5: a really.
• 1:07:51
  Speaker 7: Good idea I went there by mistake one time for.
• 1:07:55
  Speaker 6: A show for a show that was I was going
• 1:07:59
  Speaker 6: to a different show there's another venue about that size
• 1:08:05
  Speaker 6: not too far and I went to the Carpenter Center
• 1:08:08
  Speaker 6: I thought that's where the show was And I was
• 1:08:10
  Speaker 6: there forever before I realized....
• 1:08:13
  Speaker 7: Yeah, it wasn't a right venue.
• 1:08:16
  Speaker 6: But.
• 1:08:16
  Speaker 7: Cerritos. There's so many. There's so many. That's the thing.
• 1:08:22
  Speaker 7: There's a million venues there.
• 1:08:23
  Speaker 10: Yeah.
• 1:08:23
  Speaker 7: And you're always selling tickets.
• 1:08:25
  Speaker 9: But then you'll see an act like Shen Yun who
• 1:08:28
  Speaker 9: rents venues and self-promotes and they do Long Beach, LA,
• 1:08:32
  Speaker 9: Costa Mesa. They'll do Thousand Oaks. You see a billboard
• 1:08:37
  Speaker 9: with five shows within the same... 40, 50 miles, and
• 1:08:41
  Speaker 9: you're wondering, why can't everybody else get along like this?
• 1:08:44
  Speaker 5: Because everybody else.
• 1:08:45
  Speaker 1: Doesn't have marketing departments.
• 1:08:46
  Speaker 5: It's just built to sell that one app. Or have
• 1:08:48
  Speaker 5: Boardster to have to- Now and forever.
• 1:08:51
  Speaker 7: So I.
• 1:08:55
  Speaker 3: Have some follow-up questions that kind of go fit into this.
• 1:08:58
  Speaker 3: What is the artist experience worth?
• 1:09:00
  Speaker 2: All right.
• 1:09:01
  Speaker 5: I have done everything in my power.
• 1:09:04
  Speaker 3: I know my building is now getting a little small
• 1:09:06
  Speaker 3: for you, and I'm the underplay, but man, when your
• 1:09:10
  Speaker 3: artist comes in the building.
• 1:09:12
  Speaker 5: Everything is there. There's no problems. It's there.
• 1:09:15
  Speaker 3: It is the most peaceful backstage and wonderful experience and
• 1:09:19
  Speaker 3: they've had a great day Versus.
• 1:09:21
  Speaker 5: Why do you think you're an underplay at eighteen hundred
• 1:09:23
  Speaker 5: and fifty tickets on some shows for Bonnie Raitt? I'm
• 1:09:26
  Speaker 5: in underplay. So when I'm trying to get the bigger shows,
• 1:09:29
  Speaker 5: I'm in underplay, right?
• 1:09:31
  Speaker 3: So when I'm have this great experience that we're offering
• 1:09:35
  Speaker 3: and making sure that we do our jobs well so
• 1:09:37
  Speaker 3: that your tours have great experiences and There's another venue
• 1:09:42
  Speaker 3: that comes in and the experiences aren't as always so great.
• 1:09:46
  Speaker 3: Is there a way that my great service can outdo
• 1:09:51
  Speaker 3: the fact that they're getting offered 25 more K?
• 1:09:54
  Speaker 7: I think it definitely helps you. It's not the deciding
• 1:09:57
  Speaker 7: factor a lot of times whether a band goes back
• 1:09:59
  Speaker 7: or not. It's just like bands just have different ideas
• 1:10:02
  Speaker 7: of what they like and what's better. I mean, I
• 1:10:05
  Speaker 7: had psychedelic furs usually play the Greek in L.A., right?
• 1:10:09
  Speaker 7: I thought, oh, it's pretty cool. We're going to do
• 1:10:11
  Speaker 7: this underplay at the Terragram Ballroom, which is a really,
• 1:10:13
  Speaker 7: really nice room. They talk about it to this day
• 1:10:17
  Speaker 7: and tell me how awful that place was. And it's
• 1:10:20
  Speaker 7: not an awful place. For them, being English, it wasn't
• 1:10:25
  Speaker 7: grungy enough for them. It was just not right for them.
• 1:10:28
  Speaker 7: And they just felt like, you know, they probably would
• 1:10:32
  Speaker 7: have loved the troubadour, you know. And I think bands are,
• 1:10:35
  Speaker 7: they're all different, but you should, if you treat them
• 1:10:38
  Speaker 7: really well, if you feed them well, if you don't
• 1:10:41
  Speaker 7: hold back on like, oh, you can't have any more
• 1:10:44
  Speaker 7: of this or that. I mean, sometimes it's going to
• 1:10:46
  Speaker 7: cost you a little bit more to treat them that way. But,
• 1:10:50
  Speaker 7: and you could do everything and everything right. And sometimes
• 1:10:53
  Speaker 7: the band will not like the facility, not like the situation.
• 1:11:00
  Speaker 7: Maybe they Maybe they think it's too sterile, it's too nice.
• 1:11:03
  Speaker 7: Or they think it's, you know, the sound was great
• 1:11:06
  Speaker 7: out in the crowd, but maybe on stage it wasn't.
• 1:11:11
  Speaker 7: But I think you do the best you can.
• 1:11:13
  Speaker 5: You're talking about a $ 2, 500 difference. The band may go
• 1:11:16
  Speaker 5: with the experience over the money, but when it's $ 25, 000
• 1:11:20
  Speaker 5: at that level, you're never going to get the show.
• 1:11:23
  Speaker 7: Yeah.
• 1:11:23
  Speaker 6: Yeah.
• 1:11:24
  Speaker 5: It's always going to take the extra $ 25, 000 because if
• 1:11:26
  Speaker 5: you're talking about playing a 2,000-seater, you're talking about a
• 1:11:29
  Speaker 5: band that's making between $ 100, 000 and $ 150, 000, and that pushes
• 1:11:31
  Speaker 5: them to $ 175, 000, they're always going to take that out.
• 1:11:34
  Speaker 5: They're always going to take that out. Maybe for $ 2, 500,
• 1:11:37
  Speaker 5: if the aesthetic is that great at the venue, the
• 1:11:39
  Speaker 5: band will kick that room.
• 1:11:40
  Speaker 7: Unless they play that room for the extra money and
• 1:11:43
  Speaker 7: it was the worst experience possible, then they might change
• 1:11:45
  Speaker 7: their mind. But that doesn't... It's usually about... Yeah, you're right.
• 1:11:48
  Speaker 7: At the end of the day, it's usually... Money has.
• 1:11:50
  Speaker 5: A lot to do. But $ 25, 000 is a lot to
• 1:11:53
  Speaker 5: live past over not liking the bathroom.
• 1:11:55
  Speaker 6: Yeah.
• 1:11:57
  Speaker 9: Yeah, and if the band or artist has a negative experience,
• 1:12:00
  Speaker 9: you're definitely going to hear about it. If they have
• 1:12:02
  Speaker 9: a great experience, you won't always hear about it. But
• 1:12:04
  Speaker 9: the reality is the money is... often the determining factor
• 1:12:10
  Speaker 9: of which venue they're going to choose. But the agent
• 1:12:13
  Speaker 9: will remember how easy things were working with you and
• 1:12:17
  Speaker 9: how they didn't have any complaints and everything was provided.
• 1:12:20
  Speaker 9: And all of a sudden, you know, two weeks before
• 1:12:22
  Speaker 9: the show, the writer changed. It didn't really cost any
• 1:12:25
  Speaker 9: more money, but there are different catering requirements and you
• 1:12:27
  Speaker 9: rolled with it. Those are the kind of things an
• 1:12:30
  Speaker 9: agent is going to remember and you're going to get
• 1:12:32
  Speaker 9: the next phone.
• 1:12:33
  Speaker 1: Call for their other acts too.
• 1:12:35
  Speaker 9: So it's also about the comfort level of the agency
• 1:12:40
  Speaker 9: putting the acts into your venue.
• 1:12:41
  Speaker 7: And the band does take into consideration the crowd response
• 1:12:44
  Speaker 7: and the crowd reaction. I remember Debbie Harry said to
• 1:12:48
  Speaker 7: me once, she goes, I put her in some place
• 1:12:50
  Speaker 7: that was gorgeous, right? And I said, this must be.
• 1:12:53
  Speaker 5: Deborah Harry of Blondie said to you?
• 1:12:55
  Speaker 7: Yeah.
• 1:12:56
  Speaker 5: Let me pick that name up.
• 1:12:57
  Speaker 7: I said, I'm not throwing that. It's just a good
• 1:12:59
  Speaker 7: example for this is that I said, you must have
• 1:13:02
  Speaker 7: loved playing that venue. She goes, well, it was no CBGBs. CBGBs,
• 1:13:06
  Speaker 7: I don't know if anyone ever went there. It may
• 1:13:08
  Speaker 7: have been the worst venue ever created in the history
• 1:13:11
  Speaker 7: of music. You didn't want to go in the bathroom
• 1:13:14
  Speaker 7: because you might never come out. It was like a
• 1:13:15
  Speaker 7: horror movie.
• 1:13:16
  Speaker 5: But it created that genre of music.
• 1:13:18
  Speaker 7: Yeah, it created that genre. And to her, that was
• 1:13:20
  Speaker 7: a better gig. And probably the crowd reaction was off
• 1:13:24
  Speaker 7: the hook every time. That means a lot to bands, too,
• 1:13:26
  Speaker 7: what their crowd reaction is at the end, that it's
• 1:13:29
  Speaker 7: not like, You know, I got another band I want
• 1:13:31
  Speaker 7: mentioned that won't do an encore unless the band, unless
• 1:13:34
  Speaker 7: the crowd is clapping the right way. You're in the band? Rhythmically.
• 1:13:39
  Speaker 7: And it's like, it's this crazy shit. So it's a
• 1:13:42
  Speaker 7: lot of different things. But you have a great venue,
• 1:13:44
  Speaker 7: so you don't have too many problems like that.
• 1:13:46
  Speaker 3: And I was going to add in here, the artists
• 1:13:48
  Speaker 3: and tour managers do talk.
• 1:13:51
  Speaker 7: So.
• 1:13:51
  Speaker 5: Don't think that when.
• 1:13:53
  Speaker 3: You decided because they pissed you off that you're not
• 1:13:57
  Speaker 3: going to give them two extra cases of water because
• 1:13:59
  Speaker 3: something happened, that someone isn't going to make a comment later. Well,
• 1:14:04
  Speaker 3: you know, there's little stupid things that people get hardheaded
• 1:14:08
  Speaker 3: about and like, no, they got water on their bus.
• 1:14:10
  Speaker 5: Let them just go get it. Remember, it costs $ 6
• 1:14:12
  Speaker 5: a case to buy water. Yeah, which is what I
• 1:14:14
  Speaker 5: just said. So, I mean, but those kinds of things,
• 1:14:18
  Speaker 5: they do remember.
• 1:14:19
  Speaker 3: And you run into people on tours all the time
• 1:14:22
  Speaker 3: and they go, oh, God, we're going to that venue.
• 1:14:25
  Speaker 5: Or they're going, man, that was great.
• 1:14:27
  Speaker 3: I love going to that venue. They will talk and
• 1:14:30
  Speaker 3: all that. We have a question or unless Rick wanted
• 1:14:32
  Speaker 3: to go ahead.
• 1:14:33
  Speaker 1: Go ahead.
• 1:14:33
  Speaker 10: I have a two-pronged question having to do with co-pros.
• 1:14:39
  Speaker 7: And how you manage with nonprofits that can't take any
• 1:14:44
  Speaker 7: downside risk?
• 1:14:45
  Speaker 5: You bring me your deal. You tell me the limitations
• 1:14:47
  Speaker 5: to your deal. I will come to you with what
• 1:14:50
  Speaker 5: deal works for me. Maybe it's not a 50-50. If
• 1:14:53
  Speaker 5: you're not taking any of the downside, maybe we're doing
• 1:14:55
  Speaker 5: a 75-25 on the upside because I have all the downside.
• 1:14:59
  Speaker 5: We'll figure out a deal. Figure out what goes in
• 1:15:02
  Speaker 5: the pot, what we're sharing, what you're bringing to the
• 1:15:04
  Speaker 5: table as far as the size of your database, what
• 1:15:06
  Speaker 5: your vending looks like, are you throwing rent in, What
• 1:15:08
  Speaker 5: things go away on the inside of the deal to
• 1:15:10
  Speaker 5: help protect us? If it doesn't sell, what can you
• 1:15:13
  Speaker 5: make good? Maybe we're paying rent to a certain point
• 1:15:16
  Speaker 5: if the show makes money, but if it loses, are
• 1:15:18
  Speaker 5: we throwing rent away? Are we throwing away the cost
• 1:15:20
  Speaker 5: of the sound internally? Are we throwing away all of
• 1:15:22
  Speaker 5: this random marketing stuff that you guys have credits for?
• 1:15:25
  Speaker 5: What can we do to protect both of us? But
• 1:15:28
  Speaker 5: I can work around that. I work with a lot
• 1:15:29
  Speaker 5: of municipalities that can't take downsides and we figure it out.
• 1:15:34
  Speaker 5: And nine times out of 10, if I'm willing to
• 1:15:36
  Speaker 5: take risk on a show, I need to make money,
• 1:15:38
  Speaker 5: so I'm probably not buying it unless I already believe
• 1:15:40
  Speaker 5: it's going to make money. So occasionally I get cut
• 1:15:43
  Speaker 5: and we wind up eating more of a loss. But
• 1:15:46
  Speaker 5: usually if you're co-promoting to zero, there's not a huge
• 1:15:49
  Speaker 5: amount of risk. But we'll figure it out. Show me
• 1:15:52
  Speaker 5: what your deal is. We'll work it out. Every deal
• 1:15:55
  Speaker 5: I have with every venue is a cookie cutter deal
• 1:15:58
  Speaker 5: in particular. My deal with Randy is like no other
• 1:16:00
  Speaker 5: deal that I have with anybody else in the country.
• 1:16:02
  Speaker 5: But me and Randy are over 100 shows together in
• 1:16:04
  Speaker 5: the last 25 years. We've never lost on a show. Like,
• 1:16:08
  Speaker 5: that's an insane fact. We've never lost on a show.
• 1:16:12
  Speaker 5: And on top of that, he, like, makes sure my
• 1:16:13
  Speaker 5: parents get good parking backstage. And that was before.
• 1:16:17
  Speaker 3: And then let me add into that, because I feel
• 1:16:20
  Speaker 3: like I've made my living doing co-pros. Okay, going back
• 1:16:25
  Speaker 3: to the emergence age. In 1987, in the 80s, when
• 1:16:29
  Speaker 3: I learned how to do co-pros, and I was co-presenting
• 1:16:32
  Speaker 3: with John Valentino in Fantasma concerts, that's where I learned
• 1:16:36
  Speaker 3: how to do this. It was literally no concert promoter
• 1:16:41
  Speaker 3: is ever knowingly going into.
• 1:16:44
  Speaker 5: A show expecting to lose money.
• 1:16:47
  Speaker 7: That's not true.
• 1:16:48
  Speaker 3: With me, on my co-presentation, on my partnerships with them.
• 1:16:53
  Speaker 3: The relationships that I have, if we have a show
• 1:16:56
  Speaker 3: that was going to lose money, let me rephrase that.
• 1:16:59
  Speaker 3: We know we're going in because we're investing in building
• 1:17:01
  Speaker 3: an artist or we're doing something together. But I've never
• 1:17:05
  Speaker 3: walked into a show When Glide Nation, Gate 52, Emporium,
• 1:17:11
  Speaker 3: I mean, Outback, all these promoters are calling me up.
• 1:17:14
  Speaker 3: They're not coming in to me to lose money. So
• 1:17:17
  Speaker 3: first of all, I'm looking at my bet. And then
• 1:17:20
  Speaker 3: I'm also looking at what are my costs? What are
• 1:17:23
  Speaker 3: really my costs? I know I have my rental costs.
• 1:17:25
  Speaker 3: I know I have my chargeback.
• 1:17:26
  Speaker 5: She's not saying she's not willing to take. She's not
• 1:17:28
  Speaker 5: allowed to take risks. Yeah, I know. It's part of
• 1:17:31
  Speaker 5: the matter of that.
• 1:17:32
  Speaker 3: What do you call loss in there is what I'm
• 1:17:34
  Speaker 3: talking about. In other words, if I can just walk
• 1:17:38
  Speaker 3: away at the end of the day, and if the
• 1:17:39
  Speaker 3: downside is a couple of thousand, $ 10, 000, it's no big deal.
• 1:17:44
  Speaker 5: If I'm walking into a.
• 1:17:45
  Speaker 7: But if her charter.
• 1:17:46
  Speaker 5: Doesn't allow it, it's different. She's saying she's not even allowed.
• 1:17:49
  Speaker 5: She can't go past zero. Like, literally... In some municipalities
• 1:17:54
  Speaker 5: and some nonprofits, they cannot, by law, go past zero.
• 1:17:58
  Speaker 5: They'd be critically negligible. I know I've been involved in
• 1:18:00
  Speaker 5: building some of those.
• 1:18:01
  Speaker 3: And that's where I've gone back into the budget process.
• 1:18:06
  Speaker 3: And I've gone back to management to try to get
• 1:18:08
  Speaker 3: people to understand and explain. So what's the difference between
• 1:18:12
  Speaker 3: taking a 50% loss in the show that you're looking
• 1:18:15
  Speaker 3: at booking versus a 100% loss in the show?
• 1:18:20
  Speaker 5: You have a greater risk.
• 1:18:21
  Speaker 3: That you're putting in when you have a partner, you
• 1:18:24
  Speaker 3: have less of a risk in there. So if it's
• 1:18:26
  Speaker 3: built in as part of your budget, part of your season,
• 1:18:29
  Speaker 3: and the other piece that I get a little bit
• 1:18:31
  Speaker 3: soapy on is I understand the budget. You have X
• 1:18:36
  Speaker 3: amount in revenue that you have to earn, X amount
• 1:18:38
  Speaker 3: in expenses you're allowed to earn. But what it always
• 1:18:41
  Speaker 3: comes down to at the end of the operating budget
• 1:18:43
  Speaker 3: is what was your net revenue? So if you have
• 1:18:46
  Speaker 3: an opportunity to earn more net revenue than what your
• 1:18:50
  Speaker 3: budget needs you to do, it just means you need
• 1:18:52
  Speaker 3: to go $ 10, 000 over your artist fee budget loan. I've
• 1:18:57
  Speaker 3: always made sure that my budgets have that flexibility. So
• 1:19:01
  Speaker 3: it may be something that is a long-term conversation that
• 1:19:04
  Speaker 3: you have in the organization to say, Can we try this?
• 1:19:08
  Speaker 3: And what's our contingency fund and flexibility in Cityspeak?
• 1:19:13
  Speaker 9: And one thing I want to bring up is we've
• 1:19:15
  Speaker 9: had artists in comedy clubs who have sold out like
• 1:19:18
  Speaker 9: a full weekend and they're sizing out of the venue.
• 1:19:21
  Speaker 1: They could go back. Expenses are super low.
• 1:19:24
  Speaker 9: So sometimes the artists do choose to go back to
• 1:19:26
  Speaker 9: these small comedy clubs. But when the artists are looking
• 1:19:29
  Speaker 9: to move into theaters, keeping in mind that the comedy
• 1:19:34
  Speaker 9: club has the history of We've approached comedy clubs in
• 1:19:37
  Speaker 9: some markets and said, hey, they're sized out. They want
• 1:19:41
  Speaker 9: to play a theater. Would you do a co-pro in
• 1:19:44
  Speaker 9: the building? And sometimes the comedy club will do a
• 1:19:46
  Speaker 9: co-pro or even be hired on for a flat fee
• 1:19:50
  Speaker 9: to do marketing because they've got the mailing list for
• 1:19:52
  Speaker 9: the people who bought the tickets in the past. And
• 1:19:54
  Speaker 9: it kind of looks like they're the ones presenting it
• 1:19:57
  Speaker 9: or co-presenting it. So they reach directly to those ticket buyers.
• 1:20:01
  Speaker 1: In the past. And that has.
• 1:20:02
  Speaker 9: allowed us to matriculate up in some markets into theaters
• 1:20:06
  Speaker 9: where you're still giving the club who has the history
• 1:20:12
  Speaker 9: some piece of the date.
• 1:20:14
  Speaker 7: I'm only answering one draw of questions from now on.
• 1:20:17
  Speaker 5: I have not a quick question.
• 1:20:21
  Speaker 4: You mentioned something about.
• 1:20:24
  Speaker 5: tax benefits for city fund buildings or something earlier in
• 1:20:29
  Speaker 5: the conversation? Is there a benefit? Well, there are non-profits
• 1:20:32
  Speaker 5: that don't have to pay taxes, right? So if there's
• 1:20:34
  Speaker 5: a city tax, most non-profits are immune from those. And
• 1:20:40
  Speaker 5: that's a massive benefit for the show. If I go
• 1:20:42
  Speaker 5: into Tucson, it's a great example. If I go into
• 1:20:45
  Speaker 5: the Fox of Tucson, if I rent the room, I'm
• 1:20:47
  Speaker 5: paying the 9.1% tax against the gross into the city.
• 1:20:51
  Speaker 5: If I co-promote with the Fox... Because they are a non-profit,
• 1:20:55
  Speaker 5: the tax is no longer on the table. So the
• 1:20:58
  Speaker 5: artist and me both benefit from our partner not paying
• 1:21:02
  Speaker 5: tax because they're not a flexible entity. They own the room,
• 1:21:05
  Speaker 5: they own the ticket sales, and that money stays inside
• 1:21:08
  Speaker 5: the grids. So yeah, it's an advantage because we've suddenly
• 1:21:11
  Speaker 5: kept them involved on a show. And sometimes that margin
• 1:21:15
  Speaker 5: is the difference. And it's huge because some places have
• 1:21:17
  Speaker 5: no taxes and some places do. And that one is
• 1:21:20
  Speaker 5: just a massive difference.
• 1:21:21
  Speaker 7: Yep.
• 1:21:23
  Speaker 5: It definitely helps.
• 1:21:24
  Speaker 3: In Mesa, you have to pay sales tax because I'm
• 1:21:27
  Speaker 3: government and government is subject to charging itself sales tax.
• 1:21:33
  Speaker 3: In Chandler, because Chandler Center is a non-profit, if they co-present,
• 1:21:39
  Speaker 3: they don't have to. We got about 10 minutes left. Yeah,
• 1:21:41
  Speaker 3: so we have 10 minutes left. I only have one
• 1:21:43
  Speaker 3: final question that I was going to do. Well, there's
• 1:21:46
  Speaker 3: actually two. But is it how many prongs?
• 1:21:50
  Speaker 7: Two prongs.
• 1:21:50
  Speaker 5: Two prongs, yeah.
• 1:21:51
  Speaker 2: All right, so.
• 1:21:53
  Speaker 5: WA conference is going to be in Los Angeles next year.
• 1:21:56
  Speaker 3: This is a conversation that I think WA is going
• 1:21:59
  Speaker 3: to have a lot more going on this past year
• 1:22:01
  Speaker 3: about how to continue to build up conference next year.
• 1:22:06
  Speaker 3: But between now and the next WA, what should anyone
• 1:22:12
  Speaker 3: who's attending here work on doing in order to improve
• 1:22:16
  Speaker 3: their networking or their purchase power?
• 1:22:20
  Speaker 9: I like to set like even a follow-up zoom call
• 1:22:24
  Speaker 9: with people between.
• 1:22:25
  Speaker 1: Now and the end of the year where, you know, we.
• 1:22:28
  Speaker 9: Review the roster one more time or go over any
• 1:22:30
  Speaker 9: questions they've got about the list. That's, that's one thing
• 1:22:33
  Speaker 9: that I find valuable.
• 1:22:35
  Speaker 1: Another is, um, you know, I, I do go to IEBA.
• 1:22:39
  Speaker 9: And not between now and the end of the year,
• 1:22:42
  Speaker 9: but Polestar and those things are local for me. So
• 1:22:44
  Speaker 9: it doesn't cost me a lot of money. Um, well,
• 1:22:47
  Speaker 9: Polestar is local for me, so it doesn't cost a
• 1:22:49
  Speaker 9: lot of money. IEBA is in Nashville, but you get
• 1:22:52
  Speaker 9: all the agencies there. And there are some great showcases
• 1:22:56
  Speaker 9: and social things, too, that you can do to really
• 1:22:59
  Speaker 9: connect with people and network better.
• 1:23:02
  Speaker 1: But, you know, setting like a 30-minute deadline.
• 1:23:05
  Speaker 9: Zoom and following up and reviewing the roster and just
• 1:23:10
  Speaker 9: connecting and talking is a great way to do that.
• 1:23:13
  Speaker 9: You don't have to do it during the conference because
• 1:23:15
  Speaker 9: people are so slim. Sometimes you can't give them as
• 1:23:20
  Speaker 9: much attention as you'd like. You make a meeting, you
• 1:23:23
  Speaker 9: give them 15, 30 minutes, but doing it away from
• 1:23:27
  Speaker 9: the really busy time is the time to really make
• 1:23:29
  Speaker 9: some headway. I mean, I think if you can make
• 1:23:32
  Speaker 9: it convenient for people, like basically... Because where the conference
• 1:23:36
  Speaker 9: is next year is down by the Staples Center, all
• 1:23:41
  Speaker 9: that stuff. Well, it's not Staples Center anymore. And it's
• 1:23:45
  Speaker 9: a little removed from all the agencies. So it's kind
• 1:23:48
  Speaker 9: of like if you make a day, you may be
• 1:23:50
  Speaker 9: coming in a day early and go.
• 1:23:53
  Speaker 7: To try to set up meetings at the agencies. And
• 1:23:56
  Speaker 7: because L.A. is so spread out that, you know, you
• 1:23:59
  Speaker 7: might have to cover a lot of the city, but
• 1:24:02
  Speaker 7: most of the agencies are nowhere near... where the actual
• 1:24:06
  Speaker 7: conference is, but the conference is a busy area. There
• 1:24:09
  Speaker 7: are promoters down there. I mean, in particular, AEG, right,
• 1:24:13
  Speaker 7: is right there. But I would say if you can get,
• 1:24:16
  Speaker 7: make the time to get into the Beverly Hills area,
• 1:24:19
  Speaker 7: that area, and maybe the east side for a lot
• 1:24:22
  Speaker 7: more of the indie agencies and come in a day
• 1:24:25
  Speaker 7: or so earlier, you might get a lot out of that.
• 1:24:28
  Speaker 7: And then you can follow up at the conference and stuff.
• 1:24:31
  Speaker 7: That would be just a suggestion I would make, you know,
• 1:24:33
  Speaker 7: if you can do that.
• 1:24:34
  Speaker 5: You know, the agency things are highly underdone anymore. We
• 1:24:39
  Speaker 5: used to all go to the agencies and we have
• 1:24:41
  Speaker 5: our day where you ran around the agencies. They're not
• 1:24:43
  Speaker 5: done nearly as much as they used to be done.
• 1:24:45
  Speaker 5: Like we used to, I used to be in Bruce's
• 1:24:47
  Speaker 5: office every three to five months, like clog work. You
• 1:24:51
  Speaker 5: have lunch with the agents, you have breakfast, you have
• 1:24:54
  Speaker 5: drinks at the end of the day. And not only
• 1:24:56
  Speaker 5: are you seeing the people that you need to see,
• 1:24:58
  Speaker 5: because in Bruce's office, when he's at the agency group,
• 1:25:01
  Speaker 5: I would see seven or eight agents that I did
• 1:25:03
  Speaker 5: an amazing amount of volume with, but then they would
• 1:25:06
  Speaker 5: make sure that I met all of the younger agents
• 1:25:10
  Speaker 5: and they'd walk us through and point out, this is
• 1:25:14
  Speaker 5: the new guy. David Strunk is the assistant, but he's
• 1:25:17
  Speaker 5: about to be promoted to junior agent and He sees
• 1:25:21
  Speaker 5: your contracts, he's been on the phone with you before,
• 1:25:24
  Speaker 5: pay attention to him. And they go out of their
• 1:25:26
  Speaker 5: way to make sure that you know the next guy
• 1:25:29
  Speaker 5: when you go in the office. And these younger people
• 1:25:31
  Speaker 5: that you haven't met yet want to know you and
• 1:25:35
  Speaker 5: they don't get the attention that say, you know, the
• 1:25:38
  Speaker 5: biggest agents in the room over there are getting. So
• 1:25:41
  Speaker 5: an Andy or a Bruce, they're getting lubbed up on
• 1:25:43
  Speaker 5: all day long by all the buyers. But these younger
• 1:25:45
  Speaker 5: kids that are coming up that are going to turn
• 1:25:46
  Speaker 5: out to be them in 20 years, and some of
• 1:25:49
  Speaker 5: them are going to break an act next month and suddenly...
• 1:25:51
  Speaker 5: Have the new chapel round, right? Because all of these
• 1:25:54
  Speaker 5: acts that you're seeing break out on social media have
• 1:25:57
  Speaker 5: these young agents, these agents you've never heard of. And
• 1:26:01
  Speaker 5: we keep seeing it over and over again where it's
• 1:26:03
  Speaker 5: like these young kids that were just an assistant or
• 1:26:07
  Speaker 5: just promoted into agent sign this new hot act. Billie
• 1:26:11
  Speaker 5: Eilish had a very young agent. And, you know, the
• 1:26:14
  Speaker 5: agencies support them. They promote them up and they give
• 1:26:17
  Speaker 5: them a senior agent to help with the, you're dealing
• 1:26:20
  Speaker 5: with stadiums and arenas and you've been dealing with clubs.
• 1:26:23
  Speaker 5: Let's make sure that the deals get done right. Let's
• 1:26:25
  Speaker 5: give you the support. But you want to meet those
• 1:26:27
  Speaker 5: people before Chapel Rowan becomes Chapel Rowan. You want to
• 1:26:29
  Speaker 5: be on their radar. So like, hey, I've got this
• 1:26:31
  Speaker 5: act starting to happen to just book Lollapalooza. Somebody tells
• 1:26:34
  Speaker 5: you they book Lollapalooza, the buyers for Palooza or Coachella
• 1:26:38
  Speaker 5: know better than you do what's about to be hip.
• 1:26:41
  Speaker 5: That should be a buy answer right away.
• 1:26:43
  Speaker 7: If you're definitely want to meet with younger agents and stuff,
• 1:26:47
  Speaker 7: they're probably not at most of the major, more mainstream
• 1:26:51
  Speaker 7: companies and stuff, or even the companies like us, which
• 1:26:53
  Speaker 7: are not as, they're probably not driving down to the,
• 1:26:58
  Speaker 7: I hate to say that because I'm not.
• 1:26:59
  Speaker 5: But you walk me down the hallway every time I
• 1:27:01
  Speaker 5: come to your office.
• 1:27:01
  Speaker 7: Yeah, but if you come to our office, no, I'm saying,
• 1:27:03
  Speaker 7: but if they came to our office like Dan, I
• 1:27:06
  Speaker 7: would introduce them to every single agent. And all these
• 1:27:09
  Speaker 7: people that didn't show up at the WA conference would
• 1:27:11
  Speaker 7: get to meet these people. And then they would maybe
• 1:27:14
  Speaker 7: go down the next day because they get excited about WA.
• 1:27:18
  Speaker 7: So it kind of worked two ways. And I think,
• 1:27:20
  Speaker 7: you know.
• 1:27:21
  Speaker 5: And his assistant is going to be an agent. Every
• 1:27:23
  Speaker 5: one of those assistants in the hallway all want to
• 1:27:25
  Speaker 5: be agents. None of them want to be Bruce's assistant.
• 1:27:28
  Speaker 5: They're all just there to learn. They don't. They all
• 1:27:30
  Speaker 5: envision booking his band.
• 1:27:32
  Speaker 7: I think that's a compliment.
• 1:27:34
  Speaker 5: Well, no, but how often do you hire someone that
• 1:27:36
  Speaker 5: just wants to be an assistant? They all want to
• 1:27:38
  Speaker 5: learn the business, and you guys want to teach the
• 1:27:41
  Speaker 5: business so they become an agent. Everybody has the same
• 1:27:43
  Speaker 5: thing in mind. Whether you start in the mailroom and
• 1:27:45
  Speaker 5: move up to an assistant level, all of those assistants
• 1:27:48
  Speaker 5: are hoping to one day make better money booking real
• 1:27:52
  Speaker 5: acts and having their own roster, not getting your coffee.
• 1:27:55
  Speaker 5: Do they still have mail rooms?
• 1:27:56
  Speaker 2: Oh, yeah.
• 1:27:57
  Speaker 7: We don't.
• 1:27:58
  Speaker 5: But William Morris CAA, you know, team.
• 1:28:00
  Speaker 8: Yeah.
• 1:28:01
  Speaker 5: That's a great place to start, too, because you earn
• 1:28:03
  Speaker 5: being on that desk.
• 1:28:04
  Speaker 6: Yeah.
• 1:28:05
  Speaker 5: We don't.
• 1:28:05
  Speaker 7: We just promote everybody. But we have meetings. Yeah. No,
• 1:28:11
  Speaker 7: that's that's always going to say I was going to
• 1:28:13
  Speaker 7: say I would make the time to make the visit and.
• 1:28:17
  Speaker 7: And that's how you'll see more agents and get more opportunities.
• 1:28:20
  Speaker 7: That's all.
• 1:28:21
  Speaker 5: If you're in the room with someone sitting in their office,
• 1:28:23
  Speaker 5: they're going to spend time, stop looking at the screen
• 1:28:26
  Speaker 5: and they're going to.
• 1:28:27
  Speaker 1: Talk to you.
• 1:28:27
  Speaker 5: When you meet someone here or you meet someone in
• 1:28:30
  Speaker 5: their office, the likability goes up and the odds of
• 1:28:33
  Speaker 5: them actually calling you and selling you something goes up.
• 1:28:37
  Speaker 5: So if you send an email saying, I want to
• 1:28:39
  Speaker 5: work with cake, Bruce is like, everybody wants to work
• 1:28:41
  Speaker 5: with cake. You bump into him here and say, I
• 1:28:43
  Speaker 5: really love cake. If there's ever an opportunity, this is
• 1:28:45
  Speaker 5: the market I'm in. He's going to pay more attention
• 1:28:47
  Speaker 5: to that. Do you show up in his office and say,
• 1:28:49
  Speaker 5: I want to do business with you. And as a reminder,
• 1:28:52
  Speaker 5: I really want to do cake. It's hard to ignore
• 1:28:55
  Speaker 5: when you're sitting across from him in his office. It's
• 1:28:57
  Speaker 5: not an email. You went to his office to tell
• 1:28:59
  Speaker 5: him and deliver that message. It's hard for him to ignore.
• 1:29:02
  Speaker 5: I mean, he will still ignore it, but it's harder
• 1:29:04
  Speaker 5: for him to ignore it.
• 1:29:05
  Speaker 7: But there's also young guys. I mean, I can think
• 1:29:07
  Speaker 7: right now of particular young guys in our office that
• 1:29:09
  Speaker 7: probably don't do a lot of work with WAP, yet
• 1:29:12
  Speaker 7: have a lot of stuff that would sell at your venues.
• 1:29:16
  Speaker 7: And they just don't know. They know maybe APAP, but
• 1:29:21
  Speaker 7: they don't know. I knew coming into the business WAP.
• 1:29:24
  Speaker 7: I used it. I knew about these smaller venues and stuff.
• 1:29:27
  Speaker 7: I think of the guys like Guild. Their rosters are
• 1:29:31
  Speaker 7: so perfect for your venues and your size. So if
• 1:29:35
  Speaker 7: you come to the office, you'll meet all these guys.
• 1:29:38
  Speaker 5: I'm very terrified that the accident was such a deal.
• 1:29:41
  Speaker 1: And feel free to chime in, Dan.
• 1:29:43
  Speaker 9: When he was doing his agency meetings back in the
• 1:29:47
  Speaker 9: early 2000s, 2000s, and I was a young agent at ICM.
• 1:29:51
  Speaker 9: He made a point to have a meeting with me.
• 1:29:55
  Speaker 9: We had talked, and I think maybe we had one
• 1:29:58
  Speaker 9: deal in place, but it was still early days for us. And,
• 1:30:01
  Speaker 9: you know, he was kind of moving from doing a
• 1:30:05
  Speaker 9: lot of club shows and rock and punk to doing
• 1:30:09
  Speaker 9: adult contemporary, which I was working with. And, you know,
• 1:30:13
  Speaker 9: we were just starting to get our feet wet. He
• 1:30:15
  Speaker 9: came in the meeting with his wife and we're talking
• 1:30:20
  Speaker 9: and I'm talking to his wife and we're having a
• 1:30:23
  Speaker 9: good conversation and that really where our relationship like cemented
• 1:30:27
  Speaker 9: from that meeting but he told me after the fact
• 1:30:30
  Speaker 9: that I think he had eight meetings that day and
• 1:30:32
  Speaker 9: I was the only agent that actually addressed and spoke
• 1:30:35
  Speaker 9: to his wife that day and he said I knew
• 1:30:37
  Speaker 9: that you were different and I knew that you were
• 1:30:39
  Speaker 9: a good person because you were human and you acknowledged
• 1:30:42
  Speaker 9: her and you spoke with her and that was the
• 1:30:45
  Speaker 9: beginning of where we started really working together.
• 1:30:50
  Speaker 5: And ended with you petting my dog's belly last night
• 1:30:53
  Speaker 5: and talking to my wife for an hour at the house.
• 1:30:55
  Speaker 5: So thank you, everyone.
• 1:30:58
  Speaker 7: We hope you enjoyed the conversation.
• 1:31:00
  Speaker 5: Bruce is here for the day, and Rick is here
• 1:31:02
  Speaker 5: for the day. Dan is here for the day, and maybe.
• 1:31:06
  Speaker 3: And I'm here for the rest of the time frame,
• 1:31:08
  Speaker 3: but you don't need to talk to me.
• 1:31:10
  Speaker 5: But if you haven't met them or would like to
• 1:31:12
  Speaker 5: talk and learn.
• 1:31:14
  Speaker 7: More, Rick, I'm not here the whole day, so keep
• 1:31:20
  Speaker 7: that in mind. Yeah.
• 1:31:21
  Speaker 5: Didn't Randy do a good job and lose a ton
• 1:31:23
  Speaker 5: of weight? You were so thin. You look good. You
• 1:31:31
  Speaker 5: look good. You're melting away.
• 1:31:33
  Speaker 1: Good callback.
• 1:31:35
  Speaker 5: Thank you, everyone. Quarter of a month. Life is what
• 1:31:39
  Speaker 5: happens while you are busy making other plans. That comes
• 1:31:42
  Speaker 5: to us from the walrus, John Lennon.
• 1:31:46
  Speaker 1: I love it.
• 1:31:48
  Speaker 2: This is Marcia Vlasic, president of AGI Talent Agency on
• 1:31:53
  Speaker 2: Promoter 101.
• 1:31:54
  Speaker 4: Where does the time go? Thank you, everybody, for listening
• 1:31:57
  Speaker 4: to all of our listeners out there for the past
• 1:31:59
  Speaker 4: 250 podcasts. Appreciate each and every one of you for
• 1:32:02
  Speaker 4: tuning in, being so supportive of Dan and I and
• 1:32:05
  Speaker 4: Connor and everybody a part of this podcast. Till next time, friends,
• 1:32:09
  Speaker 4: please stay in touch. Hit us at steinie at promoter101. net.
• 1:32:12
  Speaker 4: We'd love to hear from you. Thanks to everybody at
• 1:32:15
  Speaker 4: the Western Arts Alliance for hosting Dan and Rick and
• 1:32:18
  Speaker 4: Randy and Bruce.
• 1:32:20
  Speaker 1: What a great panel that was.
• 1:32:21
  Speaker 5: Well, we'll be back October 29th, so never fear. And
• 1:32:24
  Speaker 5: you can catch us on the last Thursday of every
• 1:32:26
  Speaker 5: month moving forward.
• 1:32:28
  Speaker 4: Our October episode will feature 800-pound gorillas Damian Griman.
• 1:32:32
  Speaker 9: This is Damian Griman with 800-pound gorilla, and I'm on
• 1:32:36
  Speaker 9: Promoter 101.
• 1:32:38
  Speaker 4: In the meantime, we are wishing you sold-out shows for
• 1:32:41
  Speaker 4: the month to come.
• 1:32:42
  Speaker 7: Cheers!
• 1:32:43
  Speaker 4: Cheers! Call your mother!
• 1:33:05
  Speaker 10: It's from home to.
• 1:33:08
  Speaker 1: Home and I love it.
• 1:33:12
  Speaker 4: I love it.
• 1:33:12
  Speaker 2: It's from home to home.
• 1:33:16
  Speaker 4: And I love it.
• 1:33:17
  Speaker 1: I love it.