Podcasts about artist manager

Why are tickets so expensive these days? What is the latest on the Congressional bill that is supposedly supposed to stop scalpers? Randy Nichols joins me to give YOU the latest and the unfiltered truth one everything going on behind the scenes. The post Randy Nichols (Artist Manager / National Independent Ticket Organization) appeared first on idobi.

A&R Executive Dave Wallace Reveals Strategies for Global Music Success In this captivating episode of the MUBUTV Music Business Insider Podcast, discover what it really takes to go from local success to global recognition. Dave Wallace—A&R, manager, label exec, and music industry mentor—pulls back the curtain on artist growth, navigating the US market, and building powerful international networks. Learn what attracts labels and music managers today, the importance of storytelling, and why persistence is key in the modern music game!

This week on the New Music Business podcast, Ari sits down with Jaclyn O'Connell, a digital marketer, creative strategist, artist manager, and founder of Bittersweet Media and Good Grief Management. Jaclyn has provided creative marketing solutions and hands-on artist management for artists and labels of all scales and sizes—from emerging artists to well-established acts and both indie and major labels. They have supported gold and platinum records and worked with artists including Wild Rivers, Cavetown, Julian Baker, and Cold War Kids. Drawing on experience in both marketing and artist management, Jaclyn offers a sharp, insider perspective on what it truly takes to build a sustainable career in today's music industry.In this episode, Ari and Jaclyn dive deep into the realities of modern music marketing — from navigating ever-shifting social media algorithms to building effective fan funnels that turn casual listeners into ticket buyers and lifelong fans. They also unpack the current touring landscape, direct support deals, and the hot-button issue of tour buy-ons. Whether you're an artist, manager, or just curious about how fan engagement really works, this is a conversation you won't want to miss.http://instagram.com/jaclyn_oconnellChapters00:00 Building Direct Relationships with Fans03:09 Navigating the Social Media Landscape05:49 The Importance of Mental Health in Artist Management09:05 Innovative Monetization Strategies for Artists11:55 The Role of Community in Artist Growth14:58 Understanding the Fan Journey18:05 Challenges in Touring for Emerging Artists21:03 The Evolution of the Live Music Industry36:21 The Ethics of Tour Buy-Ons39:09 Navigating the Challenges of Touring43:05 Building Artist Relationships and Mental Health46:04 Defining Success in Artist Campaigns48:02 The Role of Social Media in Driving Streams51:01 The Nuances of Going Viral55:29 The Fragmentation of Viral Success57:23 Conversations with Labels and Ownership01:01:23 Balancing Management and Business01:10:25 Setting Boundaries in Artist ManagementEdited and mixed by Ari DavidsMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

¿Alguna vez pensaste en cómo los artistas logran llegar a escenarios internacionales? ¿Quién es la persona encargada de hacer las conexiones para que los espectáculos se lleven a cabo? En The Unbroken Project volvemos con nuestro especial de oficios modernos, y en esta ocasión vamos a conversar con Francis Rodríguez acerca de lo que es ser un Artist Manager.

The Gregangelo Museum wasn't supposed to exist. It began as a run-down rental in San Francisco — a place where artist Gregangelo Herrera patched collapsing rooms with found materials, turning repairs into creative experiments. One of those repairs became a full-blown art installation. One became two. Then three. Forty years later, the house is a city landmark, and the team behind it is reshaping what immersive art and marketing can look like.In this episode, host Dave Charest talks with Gregangelo Herrera, Artistic Director of the Gregangelo Museum and Velocity Arts & Entertainment; Angelica Irreno, Artist Manager and Marketing Coordinator; and Marcelo Defreitas, Creative Director. Together, they share how they transformed a private home into an immersive storytelling experience — and how that became their most effective marketing tool. “We didn't sit down and make a strategy,” Marcelo says. “By doing it, we reinvented.”Tune in to hear how they leaned into storytelling over ads, how this small team markets through meaning, not money, and how their outdoor art garden helped them stay open during the pandemic.Additional Resources:Create a reusable email templateGuide: Create, customize, and send an emailUnderstanding contact segmentationCompare reporting stats for multiple emailsConstant Contact: Email MarketingMeet Today's Guests: Gregangelo Herrera, Angelica Irreno, and Marcelo Defreitas of Gregangelo Museum and Velocity Arts & Entertainment.

Mike Gormley has been a music journalist, record company executive, and an artist manager. He's worked with The Bangles, Oingo Boingo, Danny Elfman and Jeff “Skunk” Baxter. He's been a writer for the Detroit Free Press. Done PR for Mercury Records. And an executive at A&M Records. My featured song is “Miles Behind” from the album of the same name. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Connect with Mike at:www.lapdev.com—---------------------------------------ROBERT'S SINGLES:“THE RICH ONES ALL STARS” is Robert's latest single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Nikki Camilleri is a music industry executive, mentor, speaker, arts and social rights advocate and founder of Mana (from the maltese word ‘magħna' meaning ‘with us' or ‘as a collective'). Noting so many artists to be underserved in an increasingly difficult and changing industry, she started Mana to create direct impact leveraging over 10 years experience across leading music companies (Warner Music, Believe Group, Glastonbury Festival etc.) working with and signing artists who have amassed millions of streams and played countless sold out live shows such as Ayelle, Alfa Mist and David Guetta.  Mana's mission is to advance sustainable careers in the music industry - enabling artists to maximise their projects, driving social impact through creative work, advocating for working conditions in which music professionals thrive and as a result breaking down the barriers of who gets to be creative. In 2024, Nikki made the Forbes 30 under 30 list for this work. website www.NikkiCamilleri.com Social media: https://www.Instagram.com/nikkicamilleri PLEASE SUBSCRIBE! We have many more amazing guests coming that you don't want to miss! Music Matters Podcast is hosted by globally published music journalist, Pro musician and Getty Images photographer Darrell Craig Harris! Music Matters with Darrell Craig Harris is now on Spotify, iTunes, Podbean and more! Darrell interviews globally known artists, musicians, music journalists, music business insiders, and more on a weekly basis! Follow us on Apple Spotify https://open.spotify.com/show/7bJF7f5... IHeart Radio https://www.iheart.com/podcast/269-mu... Website https://www.MusicMattersPodcast.com contact: inquiry@darrellcraigharris.com 

Breaking into Southeast Asia's Music Scene with Andy Griffin's Expert Tips! In this episode of the MUBUTV Music Business Insider Podcast, join Ritch Esra and Eric Knight as they chat with Artist Manager Andy Griffin about his journey from band member to industry executive. Dive into Andy's firsthand experiences of the Southeast Asian music market, the impact of digital platforms like YouTube and Spotify, and key career advice for musicians. We also discuss the suppression of piracy with legal platforms and the need for a balanced promotional strategy in today's market. Enhance your understanding of global music industry trends with this must-listen episode!

Brent & Johnny welcome, Starstruck Entertainment Artist Manager, Berkley Kriz (Blake Shelton, Carly Pierce), to The CLIMB to discuss what her day to day looks like and how indie artists can get ahead! You don't want to miss this one! Connect with Berkley here: https://www.starstruckentertainment.com/management Learn more about your ad choices. Visit megaphone.fm/adchoices

Omer Matz is a musician, entrepreneur, and tech innovator who bridges the gap between music and technology. As the founder of Roadie, an AI-powered music management app designed for independent artists, he helps musicians grow through collaboration, identity cultivation, and mental resilience. With a deep understanding of the music industry's challenges, Omer emphasizes teamwork and a long-term perspective for success.In this episode, Omer Matz discusses how his journey as a musician and entrepreneur led to the creation of Roadie, an AI artist manager that empowers independent musicians. He shares insights on identity, collaboration, and the mental resilience needed to navigate the music industry.Key Takeaways:How defining your identity, fan base, and product is essential for career growthThe role of collaboration in fostering mutual growth and resilience for independent musiciansPractical strategies for building a supportive team and embracing challenges in the music industry----To learn more about Omer Matz and Roadie, visit: https://www.indieflow.me/Roadie discount link: https://bit.ly/3YNU0OmBook an Artist Breakthrough Session with the Modern Musician team: https://apply.modernmusician.me/podcast

In this episode of The Load Out, host Ashanti Abdullah sits down with rapper, singer, writer, and creative powerhouse Dessa to explore the evolution of her career from poetry slams to international tours. The two dive into Dessa's creative process, how philosophy influenced her approach to music, and the highs and lows of touring. With humor and depth, Dessa shares personal anecdotes, including how she navigates the pressures of life on the road and how her collaborations have shaped her artistry. Whether you're a fan of Dessa or just curious about the behind-the-scenes of an artist's journey, this episode is packed with insight and inspiration.Follow Dessa:@dessaProduced by: @probablyashanti for @TernwheelMixed by: MMYYKK- @mmyykkvibesMusic by: MMYYKK - @mmyykkvibes

In this episode of The Load Out, Ashanti Abdullah sits down with Lalin St. Juste, the lead vocalist of The Seshen. Lalin takes us through her musical journey, starting with busking at BART stations in Oakland to becoming a key voice in modern electronic soul music. They dive deep into her creative process, how she balances her individuality while collaborating with her band, and how her personal experiences shape her art. With discussions on self-discovery, vulnerability, and the emotional power of music, this episode is a must-listen for anyone curious about the deeper layers of the artistic process.Follow Lalin St Juste:@lalin_musicProduced by: @probablyashanti for @TernwheelMixed by: MMYYKK- @mmyykkvibesMusic by: MMYYKK - @mmyykkvibes

In this episode of The Load Out, Ashanti Abdullah sits down with underground hip-hop legend Rob Sonic. Known for his solo work and collaborations with Aesop Rock in Hail Mary Mallon, Rob reflects on his early influences, the evolution of hip-hop, and life on tour. They dive into everything from breakdancing battles and DJing to the realities of performing for massive crowds at festivals like Coachella. Whether you're a music fan or a touring artist, this candid conversation offers a deep look into Rob's career and the culture that shaped him.Follow Rob Sonic:@bobbyfreedomProduced by: @probablyashanti for @TernwheelMixed by: MMYYKK- @mmyykkvibesMusic by: MMYYKK - @mmyykkvibes

In this episode of The Load Out, Ashanti interviews Sarah Dope, a photographer, creative content producer, and talent manager. The two share stories of their long friendship and collaboration in the music industry, from their time working together at Rhymesayers Entertainment to Sarah's involvement in the wrestling scene. Sarah delves into her early days as a street team kid, moving on to concert photography, social media management, and her current work with Logitech G and ASTRO Gaming.They discuss the evolution of social media platforms, the challenges of staying relevant on Instagram and Twitter (now X), and the emergence of newer platforms like Threads and Blue Sky. Sarah reflects on the challenges of balancing corporate life with gig work, her adventures in the wrestling world, and the physical and mental demands of being on tour. The episode also touches on self-care, avoiding burnout, and the importance of knowing when to take a break from work.Throughout the conversation, Sarah shares candid insights on maintaining professional relationships, adapting to changes in the entertainment industry, and the thrill of capturing powerful moments in her photography, especially in music and wrestling.

In this episode of "The Load Out," Ashanti reconnects with his long-time friend and collaborator, Budo, a seasoned producer, multi-instrumentalist, and music industry veteran. The conversation takes a deep dive into Budo's journey, from his early days playing trumpet in school to his evolution into a prolific producer and touring artist.Budo shares candid insights into his early influences, his introduction to music production through a rudimentary electronic music lab in middle school, and how these experiences shaped his path in the music industry. He reflects on his time touring with artists like Grieves and Macklemore, revealing the challenges and rewards of life on the road, from playing small, gritty clubs to performing in massive arenas around the world.The episode also touches on Budo's creative process, his experiences working with notable artists like Doja Cat, and the importance of building relationships and embracing the grind in the music industry. Ashanti and Budo discuss the value of perseverance, the necessity of "delusional self-confidence," and the lessons learned from the ups and downs of a career in music.Whether you're an aspiring musician, a seasoned artist, or simply a fan of behind-the-scenes stories from the music world, this episode offers a wealth of insights and anecdotes that are both inspiring and thought-provoking.Key Takeaways:Budo's journey from a young trumpet player to a renowned producer and musician.The impact of early musical influences and the discovery of music production.Behind-the-scenes stories from touring with Greaves and Macklemore, including the highs and lows of life on the road.Insights into the creative process and the importance of collaboration in music production.The value of perseverance, hard work, and self-confidence in achieving success in the music industry.Reflections on the music industry, from small club performances to arena tours, and the importance of staying grounded.Notable Quotes:"The value of taking L's cannot be overstated.""Delusional self-confidence is what fuels you to keep going even when the world doesn't really get you.""There's something so intoxicating about being in front of people and playing music that you made in a bedroom somewhere on stage."Join Ashanti and Budo for an insightful and entertaining conversation that delves deep into the world of music, touring, and the relentless pursuit of creative excellence.Follow Budo: • InstagramProduced by: @probablyashanti for @TernwheelMixed by: Akiyoshi Ehara - @akiehara1Music by: MMYYKK - @mmyykkvibes

Podcast Overview: Dean Wilson and Will Clarke discuss their experiences in the music industry, including managing artists like Calvin Harris and Deadmau5. They talk about the challenges of the industry, the growth of festivals, and the impact of technology on the music business. They also touch on topics like taxes, inflation, and the global reach of the music industry. The conversation covers topics such as Joel Zimmerman's vision for Deadmau5 as a global brand, the importance of having the right team, the impact of the mouse head on the industry, the challenges of being a manager, and the decision to focus on Deadmau5's business and music. The conversation also touches on the effects of the COVID-19 pandemic and the need to adapt and try new things. In this final part of the conversation, Dean Wilson and Will Clarke discuss the importance of focus and extreme dedication in managing and growing an artist's career. They talk about the challenges of managing multiple artists and the need for managers to understand and cater to the unique needs and goals of each artist. They also share stories of how hit records are made and the role of managers in guiding artists through the creative process. The conversation ends with a reflection on the rarity and preciousness of their own experiences in the music industry.Who Is Dean Wilson: Dean is an influential and innovative figure within the electronic music industry as well as the longtime manager and business partner of GRAMMY Award-nominated electronic music phenomenon Joel Zimmerman—aka deadmau5. With SEVEN20's new pivot, he and deadmau5 are taking what they've learned from years of owning and controlling their own masters and publishing, and looking into the radical new future that the blockchain enables for the industry.Join for updates: https://laylo.com/willclarke⏲ Follow Will Clarke ⏱https://djwillclarke.com/https://open.spotify.com/artist/1OmOdgwIzub8DYPxQYbbbi?si=hEx8GCJAR3mhhhWd_iSuewhttps://www.instagram.com/djwillclarkehttps://www.facebook.com/willclarkedjhttps://twitter.com/djwillclarkehttps://www.tiktok.com/@djwillclarke Hosted on Acast. See acast.com/privacy for more information.

In this episode of "The Load Out," We sit down with Zack Johnson, a seasoned talent agent with over two decades of experience in the music industry. They dive deep into Zack's journey from being a musician in a successful band to becoming a prominent agent. The conversation sheds light on the often mysterious world of talent booking, especially from the perspective of an agent who has worked with some of the biggest names in the industry.Zack shares stories from his early days touring with bands, how he transitioned into being an agent, and his passion for hip-hop and its golden era. They also discuss the intricacies of managing tours, the challenges of balancing business with creative integrity, and the importance of being resourceful in the ever-evolving music industry. Zack's insights into the realities of the music business, the importance of building strong relationships, and the grind necessary for sustained success are invaluable for anyone looking to make it in the industry.Key Takeaways:Zack's transition from musician to agent and the driving forces behind his decision.The role of a talent agent and how it differs from that of a manager.The importance of relationships and repeat business in the music industry.Insights into the challenges and rewards of booking tours and managing talent.Personal anecdotes from Zack's career, including memorable moments with major artists.Whether you're an artist looking to understand the business side of touring, or simply curious about the behind-the-scenes of the music industry, this episode offers a candid and informative look into the world of talent booking.Follow / Contact Zack: • zack@cardinaltalentgroup.com • InstagramProduced by: @probablyashanti for @TernwheelMixed by: Akiyoshi Ehara - @akiehara1Music by: MMYYKK - @mmyykkvibes

In Episode 4 of “The Load Out,” host Ashanti Abdullah welcomes the talented rapper and producer, Grieves. Known for his deeply personal lyrics and unique blend of hip-hop and soul, Grieves shares his journey from growing up with a diverse mix of musical influences to discovering hip-hop and signing with Rhymesayers Entertainment. The conversation delves into his production style, memorable tour experiences, and the challenges of headlining tours. Grieves also reflects on the balance between his music career and family life, the support of his spouse, and his thoughts on the evolving music industry.Discussion Highlights: 1. Early Life and Musical Influences: • Grieves' early exposure to music through his parents. • Growing up with a mix of jazz, blues, soul, and pop influences. • His love for artists like BB King, Wilson Phillips, Mariah Carey, and Phil Collins. 2. Path to Music: • Grieves' journey from a normal relationship with music to discovering hip-hop. • Influence of his father's music collection and the impact of artists like RZA and West Coast P-funk. • Transition from listening to punk and metal to hip-hop. 3. Production Style and Process: • Grieves' approach to music production, emphasizing emotional connection over the message. • Challenges and evolution in his music-making process. 4. Career Development: • Grieves' experience with Rhymesayers Entertainment. • His first indie release and the importance of fan connections. • Lessons learned from his time with Rhymesayers and the value of a strong work ethic. 5. Touring Experiences: • Memorable tour stories, including driving through blizzards and dealing with grumpy sound guys. • The importance of venue etiquette and maintaining professionalism on tour. 6. Industry Insights: • The significance of building a loyal fan base and maintaining authenticity. • Challenges of headlining tours and the financial realities of touring. • The impact of social media and staying connected with fans. 7. Personal Reflections: • Grieves' thoughts on the music industry's evolution and his place within it. • The balance between family life and touring. • The importance of having a supportive spouse and understanding the sacrifices involved in a music career. 8. Grieves' Current Projects and Future Plans: • Collaborations with younger artists and exploring different music genres. • Focus on fan-based initiatives and the value of live performances.Produced by: @probablyashanti for @TernwheelMixed by: Akiyoshi Ehara - @akiehara1 Music by: MMYYKK - @mmyykkvibesLinks Mentioned: • Rhymesayers Entertainment • Grieves' MusicFollow Grieves: • Twitter • Instagram

In this episode of “The Load Out,” Ashanti Abdullah sits down with Damian Siguenza, known by his stage name, Domino. As a renowned record producer, manager, DJ, and key member of the legendary Oakland-based hip-hop collective Hieroglyphics, Domino has been instrumental in shaping the group's sound and success. With his deep knowledge of jazz and funk, creative sampling techniques, and extensive production skills, Domino has left an indelible mark on the underground hip-hop scene. Join us as we delve into behind-the-scenes stories and business strategies that have defined his career, and learn about his journey from the early days in San Francisco to his influential role in the music industry.Discussion Highlights: 1. Early Life and Influences: • Domino shares his background, growing up in San Francisco. • He explains how he got the nickname “Domino” in high school. • His transition from rapping to beat-making in the late 1980s. 2. Music Career Beginnings: • Living in the back of Groove Merchant Record Store and its influence on his music. • Meeting Hieroglyphics' founder Del the Funky Homosapien through Dante Ross. • Becoming an integral part of Hieroglyphics. 3. Production Style and Techniques: • Domino's signature blend of jazz and funk, creative sampling, and extensive record knowledge. • Process of creating a beat and selecting samples. • The evolution of his production style over the years. 4. Role in Hieroglyphics: • Domino's contributions to key tracks and albums. • Acting as the spokesman and manager for the collective. • Transitioning from a producer to a manager and CEO of Hiero Imperium. 5. Challenges and Successes: • Navigating the business aspects of running an independent label. • The success of Hieroglyphics' first indie release, “Third Eye Vision.” • Establishing a touring circuit for indie hip-hop artists. 6. Touring Stories: • Memorable experiences from the road, including a border crossing mishap with his cousin. • Insights into the challenges and rewards of touring. 7. Advice and Reflections: • Domino's advice on handling failure and rejection in the music industry. • The importance of believing in oneself and persevering despite setbacks. • Reflections on how the music industry has evolved and his role in it.Produced by Ashanti Abdullah - @probablyashanti & @TernwheelMusic by MMYYKK - @mmyykkvibesLinks Mentioned: • Hieroglyphics • Groove Merchant Record StoreFollow Domino: • Twitter • Instagram

Join @thebuzzknight for this Classic Replay with artist manager Kerri Edwards. Kerri is the manager for Country Music Superstar Luke Bryan, and she provides insight and inspiration for musicians and aspiring women in the business of country music.  If you have questions, comments or suggestions share them at buzz@buzzknightmedia.com Connect with Buzz on Twitter @TheBuzzKnight and Instagram @takinawalkpodcast. Like the show? Leave us a review here.  ReviewSupport the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Welcome back to another episode of You Had to Be There, the podcast where we deep dive into the crowds of concerts, festivals, the music industry, and more. I'm your host, Julia Gomberg.I'm thrilled to announce this week's guest, Zoe Salvucci. Zoe is a jack of all trades in the music industry. She works as an artist manager by day, a concert photographer and videographer by night, and a music enthusiast 24/7.After graduating from Boston University in 2020, Zoe is now based in Philadelphia, working full-time with incredible artists like Coral Moon and Bermuda Search Party to develop their identities and reach out to new listeners and fans. Don't be surprised if you catch her at the merch booth at your favorite band's next tour, too. She really does it all and has the insight to prove it.Be sure to also check out her You Had to Be There curated playlist for the podcast, which you can find on our Instagram, @uhadtobetherepod which features some of her all-time favorite bands and jams.Hope you're locked in, because Zoei is about to take us on a journey through the coolest corners of the music industry. As always, thanks so much for listening!Zoe's Playlist: https://open.spotify.com/playlist/6jyfGqivR4FpXKZHvLMeUR?si=12c2b73d8a534db9Zoe's MGMT IG: https://www.instagram.com/sevenhillsmgmtZoe's Photog IG: https://www.instagram.com/zoesalvucci/

Send us a Text Message.Kim Nuendorf is an  amazing woman that lives in Canada. She has a great laugh and a lot of knowledge about the world of Artist Management, publishing, and music for TV.Kim is also the owner of Free Run Artists, and most notably Christo de Veers manager and co writer on White Lotus. I just love her music.https://freerunartists.com/artists/kim-neundorf/Visit GIG with Mike Redman @https://www.gigwithmikeredman.com/podcastsEmail me questions, guests you would like to see @ : gigwithmikeredman@gmail.comThanks for listening !Mike Redman

Artist Manager at Red Light Management Nicolette McCann joins us to chat about her journey with fellow The Table Women guest, artist BIZZY, and: How Nicolette found her niche and tried out different paths Small world connections and invisible strings that became the perfect launching pad for success The magic of being new and independent as a manager and an artist The growing pains of developing your career and navigating a relationship with your artists What it looks like trying to take an artist from viral to sustainable Navigating taking a career to the next level, personal vs. professional relationships, and more Knowing when to jump on board or leave an opportunity behind Getting started managing - where and how to begin  Advice for artists, wannabe managers, and personal philosophies And more! Red Light Management: https://www.redlightmanagement.com/  Nicolette: https://www.instagram.com/nicolettemccann/  BIZZY: https://www.srryimbizzy.com/about  Cousin Simple: https://www.cousinsimple.com/   

As many of you know, I love to have guests on that are behind the scenes in the music industry because they are a pivotal factor as artists grow throughout their career. Today's guest is someone who does exactly that. Episode 231 features Todd Mercer of Sherwood Management who oversees Cloverdale and his label Vibrancy along with Vibrancy Festival. Many of you are familiar with the high-octane DJ/Producer Cloverdale but Todd was there on day for the project. In fact, Cloverdale was the one who said I need to have Todd on because he brings such a fresh and unique perspective for building a brand and I couldn't agree more. This interview was incredible. It goes without saying how great of a dude Todd is but I learned so much from him during our time. He talked about how to look at their brand as a business but also how to maintain the authenticity without compromising too much for short-term opportunities. He provided insight on how they've built Cloverdale's label "Vibrancy" to become one of the most well-respected and welcoming labels in dance music and so much more. Todd is also very deep in planning the third "Vibrancy Fest" which occurs each year in Halifax, Nova Scotia - the festival brings people from all over North America and has become the premiere event for dance music in Halifax. Previous headliners include Tiga, Green Velvet, J Worra, DJ Susan and more! These are my some of my favorite interviews because I basically get free advice from a self-taught and self-made professional like Todd. No matter what stage you are at as an artist, Todd has some unique insight for you. Got my word there.

Send Julie a text!!Cassie Petrie works with the world's biggest musical artists (as well as rising stars) to help them with their social media marketing and to help them manage their career.Cassie is the CEO & Co-Founder of Crowd Surf, a leading social media marketing and music management company. She happily calls herself a social media dinosaur. At the age of 12, she was at the forefront of creating social content in the music and entertainment industry by running the Backstreet Asylum, a weekly newsletter that reached Backstreet Boys fans worldwide. Flashforward a few decades, and  her passion for the artists and the industry is what helped her create a thriving business and work with incredible artists (and their teams) to:Market concert tours for Nickelback, Backstreet Boys, P!NK Market Las Vegas residencies for Miranda Lambert, Shania Twain, Usher We talk about so many fascinating topics, including:What it means to do social media marketing and artist managementHer tips for how to approach social media and not get overwhelmed by the trendsWhat it takes to thrive as a professional in the social marketing industrySome awesome examples of who she has worked with and how she helpsCassie Petrey - GuestCassie Petrey's LinkedIn accountCassie's IG accountCrowd Surf websiteJulie Berman - HostJulie Berman's LinkedIn Profile@womencooljobs (Instagram)www.womenwithcooljobs.com ------------------------------------------------------------------------------------------ I absolutely LOVE being the host and producer of "Women with Cool Jobs", where I interview women who have unique, trailblazing, and innovative careers. It has been such a blessing to share stories of incredible, inspiring women since I started in 2020. If you have benefitted from this work, or simply appreciate that I do it, please consider buying me a $5 coffee. ☕️ https://www.buymeacoffee.com/julieberman Thank you so much for supporting me -- whether by sharing an episode with a friend, attending a LIVE WWCJ event in Phoenix, connecting with me on Instagram @womencooljobs or LinkedIn, sending me a note on my website (www.womenwithcooljobs.com), or by buying me a coffee! It all means so much.

Here we are with Myles Hoffman. At 15, crashing his first concert, he bribed his way in with his savings and asked the crew on breaking into the music biz. Denied by top programs, he stumbled into Belmont University on a full ride. From there, he hustled—juggling internships across NYC, LA, and Nashville, founding IDENTITY Artist Management. Today, he helms IDENTITY, nurturing talents like Molly Grace, while freelancing for a slew of indie artists. We will get to hear his advice and life on living in Nashville.

In this episode of the Cockatoo, Host Adam Burke sits down with renowned Artist Manager, Jacob Snell. Jacob founded Monster Management back in 2011, which he moved to the US with his life and business partner, Apple Baggios, managing bands including Hatchi, Methyl Ethel, The Beths, and Cloud Nothings. In 2023, Monster merged with Lookout Kid, another Australian-owned management company here in LA, which represents artists including Courtney Barnett and Faye Webster.

Dwayne Marcial, a dynamic serial entrepreneur, thrives at the intersection of business and the arts.As an accomplished artist manager in the Canadian music industry, he navigates the complexities of the entertainment world with finesse. Dwayne's entrepreneurial spirit led him to be a founder of a groundbreaking music streaming app, revolutionizing the way audiences engage with indie music artists. Beyond his commercial ventures, Dwayne is dedicated to fostering a global appreciation for Canadian music.As the owner of a nonprofit organization, he champions initiatives that export the rich diversity of Canadian musical talent on the world stage. He is a respected client of the Trade Commission of Canada. Dwayne's influence reaches international heights, having actively participated in numerous export missions with Heritage Canada and working with music festivals in Singapore, Australia, and France, a testament to his invaluable contributions to both the artistic and economic landscapes.Find out more @realdjslim

With returning co-host Emily Grieve, we cover release strategy, touring, and content creation. Follow Creatives Prevail: Instagram TikTok We would love to hear from you! Please give us a review, this really helps get others to listen in. Any suggestions on how we can improve? DM us on Instagram or TikTok. Intro music: ‘Somebody' (Instrumental) by The Runner Up Outro music: ‘Let's Ride' (Instrumental) by Gabe Kubanda Host: Mike Zimmerlich Produced by: Omelette Prevail Post-Production: EarthtoMoira Tags: Creator Economy Music Industry Release Strategy Touring Content Creation Artist Manager

We talk with Matt about his journey to becoming an Artist Manager in the entertainment industry. Bio: Matt Hanrahan began his storied career in entertainment DJing and playing in rock bands like Carpal Tunnel in New England before becoming an alternative music promoter, independently promoting and coordinating live events, organizing street team promotions, and managing and an indie music label and roster. From his start in CT, Matt built a strong base in New England and then instinctively moved to nearby NYC where he further cut his teeth producing concerts and eventually tours, festivals, and other special events. Matt eventually took his learnings from the live event space, combined it with his marketing know how, and focused on Branded Entertainment. It wasn't long before Matt was on the road producing events and content with same of the biggest bands and brands in the world, including world tours with The Rolling Stones, Moby's Area Festival Tours, WWE, The Golden Gods, Alt Press, and Loudwire Music Awards, critically acclaimed music video productions, charity concerts, live streams, and an amazing 8 year run producing shows for WWE. These days, Matt continues to create, program, and produce unique entertainment experiences and content within the realms of music, art, fashion, tech, sports and non profits while forging a burgeoning entertainment partnership with The Outlier Group with a focus on talent development, management, venue / event booking production, and compelling brand partnerships including SPINs Lipps Service Podcast, LA Fleet Week, SXSW, Raven Drum Foundation, Beachlife Festival and much more! Find Matt: @matt_han_ra_han www.outliergrp.com Send your Concert Questions to Podcast@TalesFromThePit.net www.TalesFromThePit.net #NHCONCERTPHOTOGS #talesfromthepitpodcast #Talesfromthepit #musicphotography #concert #tour #onstage #rock #tourmanager #audioengineer #foh #frontofhouse #takingbacksunday #concertphotography #podcast #artistmanagement #wwe #rollingstones Hosted by Jason Levasseur www.AcoustifiedMedia.com Music Licensed by Story Blocks

We talk with Matt about his journey to becoming an Artist Manager in the entertainment industry. Bio: Matt Hanrahan began his storied career in entertainment DJing and playing in rock bands like Carpal Tunnel in New England before becoming an alternative music promoter, independently promoting and coordinating live events, organizing street team promotions, and managing and an indie music label and roster. From his start in CT, Matt built a strong base in New England and then instinctively moved to nearby NYC where he further cut his teeth producing concerts and eventually tours, festivals, and other special events. Matt eventually took his learnings from the live event space, combined it with his marketing know how, and focused on Branded Entertainment. It wasn't long before Matt was on the road producing events and content with same of the biggest bands and brands in the world, including world tours with The Rolling Stones, Moby's Area Festival Tours, WWE, The Golden Gods, Alt Press, and Loudwire Music Awards, critically acclaimed music video productions, charity concerts, live streams, and an amazing 8 year run producing shows for WWE. These days, Matt continues to create, program, and produce unique entertainment experiences and content within the realms of music, art, fashion, tech, sports and non profits while forging a burgeoning entertainment partnership with The Outlier Group with a focus on talent development, management, venue / event booking production, and compelling brand partnerships including SPINs Lipps Service Podcast, LA Fleet Week, SXSW, Raven Drum Foundation, Beachlife Festival and much more! Find Matt: @matt_han_ra_han www.outliergrp.com Send your Concert Questions to Podcast@TalesFromThePit.net www.TalesFromThePit.net #NHCONCERTPHOTOGS #talesfromthepitpodcast #Talesfromthepit #musicphotography #concert #tour #onstage #rock #tourmanager #audioengineer #foh #frontofhouse #takingbacksunday #concertphotography #podcast #artistmanagement #wwe #rollingstones Hosted by Jason Levasseur www.AcoustifiedMedia.com Music Licensed by Story Blocks

Episode 228 features one of my dear friends and confidants in the music industry - Mario Danza! Mario comes with a wide array of experience ranging from promoting, event curation, physical and digital marketing and what he's most known for - artist management. Mario just recently officially launched his management company called Define Group that rosters artists like Truth x Lies, longstoryshort, Ryan Case, and more. Believe me when I say that Mario is one of the hardest working guys I know and gave us some incredible insight on his experience. Topics included when does an artist need a manager or an agent, how to find your real fans and marketing, building an actual career as an artist, the current and future state of dance music, and so much more. I love having guests like Mario on because there are so many artists of all levels out there that are looking for direction on where to go next - Mario works with artists in different genres at different levels and delivers real clarity from a business and creative standpoint for how to keep the momentum!

This week we are thrilled to share part 1 of our discussion with industry legend Dr Sally Anne Gross! Sally has had quite the varied career from being the first female A&R at Mercury Records, taking trips to San Fransisco to scout artists to running her own record label from her kitchen table and later studying for her Law Masters.We discuss the key differences that Sally found in her experiences in the DIY scene and at major labels. Her role as an Artist Manager; shifting records and remixes for dance acts and how the title and responsibilities have changed. Later Sally began studying Law at Birkbeck University night school, all whilst managing a career and a family, falling in love with the Law and deeper understanding the structures that influence it.Sally has such a wealth of experience and wonderful stories, we absolutely loved working on this episode! Don't forget to like, comment and share.LINKS:Website: Sally Anne GrossLinkedIn: Dr Sally Anne GrossBook: Can Music Make You Sick?Help Musicians Report: Mental Health In the Music Industry Hosted on Acast. See acast.com/privacy for more information.

Enrollment closes soon for Ari's Take Academy! Save 10% with code NMB and enroll: https://aristakeacademy.com/A Los Angeles native and UCLA alumni, Michele Harrison commenced her career as a legal assistant at the Law Offices of Fischbach, Perlstein and Lieberman. Following gigs at Virgin Records and Hollywood Records, she spent 15 years at Ian Montone's Monotone, Inc., working with the likes of Broken Bells, The Shins, Vampire Weekend, and Academy® Award winner Jamie Foxx. In 2018, she became Co-Head of Management at Friends At Work, managing Alanis Morissette and Raphael Saadiq. 2021 saw her join Range Music as a Partner, overseeing the careers of Healy, KaiGoinKrazy, Tkay Maidza, Justin Tranter, and UMI. With MPH Collective, she has now built a haven for artists, visionaries, and storytellers to shine without compromise.In this interview, Ari and Michele discuss the role of autonomy and control in management, the impact of TikTok on artists' careers, and the changing landscape of record deals. She shares insights into the profitability of different venue sizes and the revenue streams from touring, including VIP experiences and merchandise sales. Michele also discusses the role of producers and the process of creating beat packs to pitch to artists and songwriters. She highlights the importance of getting in the room with other producers and songwriters to create music.Chapters00:00 Introduction and Background of MPH Collective03:06 The Impact of TikTok and Challenges in the Music Industry06:53 The Shifting Landscape of Record Deals11:52 The Importance of Authenticity in Social Media30:26 Building a Collaborative Team35:15 The Importance of Booking Agents and Touring41:09 Profitability and Revenue Streams46:09 The Role of Producers57:01 The Goal in the New Music BusinessSubscribe to The New Music Business: https://aristake.com/new-music-business-podcast/Ari's Take Academy: https://aristakeacademy.comWatch more discussions like this: https://bit.ly/3LavMpaConnect with Ari's Take:Website: https://aristake.comInstagram: https://www.instagram.com/aristake_TikTok: https://www.tiktok.com/@aris.takeX: https://twitter.com/ArisTakeThreads: https://www.threads.net/@aristake_YouTube: https://www.youtube.com/user/aristake1Connect with Ari Herstand:Website: https://ariherstand.comInstagram: https://instagram.com/ariherstandX: https://twitter.com/ariherstandYouTube: https://youtube.com/ariherstandConnect with Michele Harrison:Linkedin: https://www.linkedin.com/in/michele-harrison-88315a18/Instagram: https://www.instagram.com/mphcollective/Edited and mixed by Ari DavidsMusic by Brassroots DistrictProduced by the team at Ari's Take Hosted on Acast. See acast.com/privacy for more information.

EP8- TSMS -Eddie Rodriguez Thursday Salsa Music Showcase Tonight- Part 1- the Richie Bonilla interview. A living legend of the original top Tropical Latin (Salsa) music Promoters in the business ; Concert Producer International concert tour  promoter,Booking Agent, Artist Manager,and Mentor

On this week's episode, we have music manager Dave Rose (Lit, Marcy Playground, Stryper and many many more) and we discuss his journey starting out as a bassist and what it's like managing today vs. the pre-digital age. Tune in for so much more.Show NotesDave Rose Agency: https://www.deepsouthentertainment.com/Dave Rose on TikTok: https://www.tiktok.com/@daverosedeepsouthDave Rose on Instagram: https://www.instagram.com/daverosedeepsouth/ A Paper Orchestra on Website: https://michaeljamin.com/bookA Paper Orchestra on Audible: https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptDave Rose:I'm so amazed that people pay me to do this. I was doing it long before I knew you could make money at it. And so the pinnacle for me is really that this continued joy of the business of musicMichael Jamin:You are listening to. What the Hell is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase And to support me in this podcast, please visit michael jamin.com/book and now on with the show.Hey everyone, welcome back to another episode of What the Hell is Michael Jamin talking about conversations in writing, art, and creativity. And today I got a special guest for you. Musicians out there. You don't deserve any of this. This is a wonderful treat for all of you. Don't say I never gave you anything. I'm here with Dave Rose from Deep South Entertainment and he is a career music manager. But Dave, first of all, welcome. I got a billion questions for you, but did you start off, are you a musician as well?Dave Rose:Thank you. Good to be here, Michael. Man, mutual admiration all the way around. This is exciting to be here. But yes, I started out as a musician. I was a, yes, I started out as a musician. I mean, yes and no, there's a story, but I became a musician out of necessity.Michael Jamin:How does that work? No one becomes, that's like the last thing you become out of necessity.Dave Rose:I know. Isn't that funny? So I was managing, and I very much put that in air quotes. Say I was a freshman in college and I had a local band decide they wanted me to be their manager. I was showing up at all their gigs and selling merchandise and unloading the van and doing all the things that I thought I could do to help. I just loved being around music. One day they said to me, would you be our manager? And I didn't know what the hell a manager was. I still don't. But they said, well, you could start by getting us some gigs. And that's not what a manager does, by the way. But that's when you're in college, that's what you do.Michael Jamin:That's not what a manager does then. Okay, you have to elaborate on that when weDave Rose:Can get into that for sure. So I got 'em 20 gigs and we had it all booked up and we're all ready to go. And we were two weeks out from the very first gig, big string of shows, playing skate ranches and pool parties and all the places that you play when you're just starting out anywhere and everywhere that'll give you room. And they came me and they said, our bass player quit and he's moving, so we need to cancel these gigs and we can no longer, we will audition new bass players later. I said, like, hell, you are, I've been watching this. It doesn't look like it's that hard to play bass, so here's what we're going to do. I'm going to cram myself in the basement with you, Mr. Guitar player, and you're going to teach me all the parts to these songs.We're going to go play these 20 shows with me as the bass player, and when we come back, you can audition bass players. That's how. And they were like, yeah, that's not how that works. I said, well, that's the way this is going to go. And so they did. I crammed myself in the basement and learned to play bass in two weeks, and it was rock and roll. It was three chord rock and roll. Wasn't real hard, but apparently I picked it up pretty easily and I played bass in a band for the next 10 years, but that should have been my first indication that I was not a musician. I learned how to play just to keep a band.Michael Jamin:But you must, if you played for 10 years, you're good enough.Dave Rose:Yeah, I mean I figured it out along the way.Michael Jamin:Wow. But then at some point you went to full-time management.Dave Rose:Yeah. Yeah. I ultimately segued into full-time management, and that was, I started this company putting out compilation CDs. That was a big thing. I started in 1995 and in the mid nineties, these sort of mix tape CDs were a big thing. And I would find local and regional bands from around the area and put 'em on this compilation CD and put it out and see what happens. But from the very first CD we put out, we had one of the biggest hits of the nineties, a song called Sex and Candy by Marcy Playground. And my intention was I would stick my band right in the middle of all these big regional bands or bands that I thought was going to be big and maybe my band would get some attention too. And I think nine bands on that first compilation got record deals accept my band. So that was kind of my moment of realizing, yeah, I'm definitely not, I'm way better on the business side of things.Michael Jamin:So then tell me then what a manager music manager does exactly if they don't get you work.Dave Rose:Sure. It's very different, I would guess, than in the film and TV business. And I would love to learn this from you, but I'm guessing in the film and TV business, the person that gets you work is the agent. Is thatMichael Jamin:Yes, the agent and not the manager and I have Right,Dave Rose:And that's what it is here. So a manager in music, I'm put it in the simplest terms, but it's like if the entire career is a wheel, the manager and the artist are in the center of that wheel. And all these spokes are things like booking agents and publicists and record labels and publishing companies and people that do film and TV music and all the accountants, the crew, all the thing, the attorneys that make the machine, the wheel turn. The manager is making sure all of those things are working. So it's sort of like being, I compare it to this, it's being the CEO of a band, but if you're,Michael Jamin:I'm sorry, go on.Dave Rose:That's all right. The band is owned by the band or the artist is owned by the, they own their company, but they retain an artist manager commission, an artist manager to manage their career.Michael Jamin:But if that band is going on tour, are you expected to go with them?Dave Rose:Only if you're in country music.Michael Jamin:Okay. Why is that?Dave Rose:It is different. Country music is one of the few genres that still very much lives and dies by the radio, and so the relationships with local radio is very important. So a manager should be there to kind of nurture those radio relationships from town to town to town. Now, if you're in rock and roll or hip hop or almost any other genre, Americana folk bluegrass, most managers do not travel with the band,Michael Jamin:But a touring manager would No,Dave Rose:A tour manager. Exactly. A tour manager does. And the tour manager is exactly, it sounds, it's the manager of the tour. So it deals with getting the bus from point A to point B and where do we park and what do I mean? It's way more than that, but it's the finance of the tour and they report to the artist manager.Michael Jamin:Now over the years, I've heard you mention this, you have a very, very big it's successful TikTok page, which is how I found you. You've managed a bunch of really big acts, right?Dave Rose:I've had some, yes. I've had a lot of, and I still do have a lot of big acts. It's been just amazing. I keep waiting for somebody to knock on my door and go, okay, gigs up. Time to get a real job.Michael Jamin:Can you share some of 'em with us?Dave Rose:Oh, absolutely. Yeah. So I got my start with Marcy Playground, and I'm still with them 26, 7 years later. But one of my first big clients was the piano player, Bruce Hornsby, who was in the Grateful Dead, and he had a bunch of hits in the eighties and nineties, but he's had a very, very unique career. He is done albums with Ricky Scaggs and Jazz Records, but Little Feat, the classic rock band of, they're just so iconic. The band Lit who had one of the biggest rock hits of the nineties, that song, my Own Worst Enemy, some of the country acts that I've worked with, Laney Wilson, who just won a Grammy, and yeah, I worked with the band six Pence, none The Richer who had the mega hit Kiss Me. And so yeah, it's been not to just, one of the bands I've been with the longest 23 years is an eighties rock band from LA called Striper. They kind of came up in the ranks with Moley Crewe and Bon Jovi and that kind world of big hair and Sunset Strip and all the things of Hollywood, but they're a Christian man. They sing about Jesus. So they're very, very different than that.Michael Jamin:At this point. Are new bands finding you or are you reaching out to them? How does that work?Dave Rose:Yeah, they usually find me at this point, I don't develop a lot of new acts anymore, mostly because I've just been doing it a long time and developing a new act from garage to Grammy is not only risky, but it's a long runway. And when you've been sort of doing it for as long as I have, and I don't mean any disrespect to anything on this, but you don't need to take that risk anymore.Michael Jamin:But it seems like on TikTok, it seems like you're talking to those people.Dave Rose:I am taking my audience on TikTok is very much the audience that is sort of just trying to figure out the next steps of a very complicated career path.Michael Jamin:But then why are you talking to them now if that's not, I assume it's because that's what you're looking for, but No,Dave Rose:Yeah, no, that's a great question. The reason I'm doing it is very pure, because it is hard to do this, and there's a lot of bad advice flying around out there. And to some extent, I wanted to get on there and level the playing field and just let people know the reality of how the business works. No, I'm not at all seeking to manage sort of startup band. I do some coaching that I'm more than willing to help them in. I'll do these 30 minute sessions where I can really, really fast track things for them, help them avoid years and years of mistakes in a very quick conversation. It's a lot like the stuff that you do in the sense that I'll meet an artist from Topeka, Kansas or wherever and how they're learning stuff that they would not learn anywhere else, only because nobody's ever told 'em.See Michael, something I think we ought to talk about at some point in here is part of why it's difficult to get a manager in the music business is because of how a manager gets paid. Okay, how did they get paid? I think that's an interesting dynamic that a lot of just, certainly a lot of people, but even a lot of artists don't know how that works. So how does that work then? Yeah, so a manager is paid by commission, so it's strictly a commission base. So if you are an artist and you go out and you play a show or you sell a T-shirt or make some sort of income, a percentage of that income is paid to your manager, includes the record deal, includes everything. It typically includes, and sort of depending on where you are in that artist's career, it includes most every aspect of their entertainment career, including what about royalties?It does include royalties, particularly if those royalties were ones that you helped them earn. If you get them a record deal and they continue to earn royalties either through radio play or whatever, you would earn a commission on that. So you're earning commissions on these revenue streams, and that's typically about 15%. So if you think about managing, like we talked about the wheel, all those different spokes in the wheel, maybe for each act that I manage, that's probably 150 decisions a day that we're making on behalf of that artist. So you can't manage a lot of acts as an individual. You can have a company like we do that manages, has managers that manage acts, but generally speaking, you can't manage a lot of acts. There's a lot that goes into a typical day of that. So the commission, if you just break it down to making a living, an artist has to be making significant money for it to be worth that manager's time to spend the bulk of their day managing their career.So when you've got an artist that's just starting out, and I want to get to why it's hard to get advice when you've got an artist that's just starting out and they're making no money and are making very little money, I don't know, 20, 30, 40, $50,000 a year, you think about that 15% of that is $5,000 a year maybe for the manager. So it's really not enough to say, I'm going to dedicate my life to you, which is really what it takes. So as a result, it's almost impossible for an artist to meet a manager. It's really hard to meet a manager. Our time is paid by commission. So that's why I get on TikTok and talk about the things I talk about because I was that bass player in a band not knowing what the hell I was doing, making every mistake under the sun. And I'm very, I don't know, very genuinely just trying to help people not make those mistakes.Michael Jamin:Now, you said something a while ago on one of your tiktoks, and I was surprised you don't come down. I thought everyone was supposed to hate Spotify and streaming because of the way, in my opinion, in my point of view, artists are being raped. I mean, that's how I see it. But you don't feel that way?Dave Rose:I don't. I mean, do I think it's a fair payment system? No, I think there's a lot of improvement that needs to happen. Part of what I think is the imbalance is the payments between an artist, a songwriter, and the record label. You see, when a song is on Spotify, those are the three main parties that sort of have to get paid a record label, an artist and a songwriter. And the songwriters are the ones that are really struggling in this time.Michael Jamin:From what I pay on what people pay on Spotify, I gladly pay double for what? I mean, I get every album I want to listen to at any time through the month, almost anything. And if I pay double, I still feel like the artists wouldn't be making not even close to what they used to make.Dave Rose:Well, yes. Again, we got to remember, there's three buckets. We're dealing with the artist, the record label, and the songwriter. And in some cases, that's the same person in all three of those buckets. If you go out and self-release a record, and you've written that record and you performed on that record, and you do millions and millions of streams on that record, you're making very respectable.Michael Jamin:I thought, again, I come at this completely ignorant. I know so little about it, but I think I saw a video by Snoop Dogg saying his album was streamed a billion times and he made 10 Sense or something.Dave Rose:That's a famous video. That video circulated a lot. And what is missed most often in that conversation is the difference in those three buckets. My gut tells me, and I don't know Snoop Dogg's complete history, but he probably does not own that recording. So a big chunk of that money that's being earned probably went to his record label, and I don't know, maybe he wrote the song, maybe he didn't, if he didn't write the song, he's missing that bucket of income, or maybe he did write this. So my gut tells me there's more to that story. SoMichael Jamin:Misunderstand this, which is fine.Dave Rose:I dunno, the full snoop do the inner workings of his business, but my gut tells me there's more to that story because I know no shortage of independent artists making a great, great living, really. But the thing that's different, and the thing that we got to think about that's different from say 2005, say 20 years ago, the biggest difference is the revenue streams now are very multiple. I mean, I met a band the other day that's doing insane six figures just on YouTube.Michael Jamin:On YouTube ad. So they put their music and they make ads on YouTube. Exactly, because they're not sellingDave Rose:It. That's right. The ad revenue is making four members a living, a very good living.Michael Jamin:See, it was my impression that, okay, so 20 years ago, a band would go on tour and after the show, they'd sell okay, merch, but they'd also sell the cd. If you want to listen to music, they sell. But now no one's going to buy that cd.Dave Rose:They do. They very much buy, well, more so they buy vinyl. The vinyl buy vinyl. And what's crazy, I was just on the phone with a head of a record label and he was talking about the rapid increase in the number of cassettes they're selling, which is crazy. It's just such a, I tell people this all the time, but you can't autograph a stream, so you're going to always need to have something that people can take home. I mean, I read the other day of all the vinyls sold only like 37% get listened to, but vinyl cells are through the roof, really. They buy the product, they get it autographed, they keep it as a collector's item, and then they stream it on Spotify.Michael Jamin:But why do you feel vinyl as opposed to a cd, which is just vinyl, but smaller and better quality? Why is that?Dave Rose:Yeah, I think CDs, I mean, also depending on the genre, certain genres are very cd, like country. People still buy CDs. If you go into a Walmart and rural America, you're going to see a lot of country in there. But yeah, I think vinyl partially because it's just big and cool to hold, andMichael Jamin:Yeah, you right, because not a lot of people have record. A lot of people don't even how to use a record like we do, butDave Rose:Yeah. Well, I mean you'd really be surprised, Michael. The vinyl industry is insanely huge.Michael Jamin:Interesting.Dave Rose:And really among kids, I mean, the kids are buying vinyl. If you go into an Urban Outfitters, which is obviously geared toward 20 somethings, they have a whole record section in there, whole vinyl section in their stores, and they sell record players at Urban Outfitters.Michael Jamin:Right, right. I always thought that was ironic. I didn't realize that they're making money that way. I know. I thought they were museum pieces.Dave Rose:Well, probably to some they are. Wow. Yeah.Michael Jamin:Now, do you specialize in any kind of genre of music or does that matter toDave Rose:You? I'm a rock and roll guy at heart, but I've done a lot of work in sort of songwriter rock. I've certainly had my share of country acts, although it's not my preferred genre, I've not done a lot in bluegrass, and I've not done a lot in hip hop, which is strange because if this is a visual thing, I'm staring at a Tupac Black behind me. So I say I don't really work in hip hop, but then I got to Tupac Black up here.Michael Jamin:I have a question for you. I don't think you're going to be able to answer this one. I don't know if there's an answer. ProbablyDave Rose:Not.Michael Jamin:So Daryl Hall has a show that I happen to catch sometimes. I think he shoots in his basement or something. You must've seen it, where he brings in friends, like eighties stars or whatever, Darryl'sDave Rose:House,Michael Jamin:Darryl's house, and he looks cool. He's got a blazer on, he's got dark glasses, and I'm like, okay, he looks cool. But then sometimes he brings in other men his age, which is whatever, 70, whatever it is, I don't know. And they're dressed and they're stars from the eighties, and they're dressed like they used to dress in the eighties. I wonder, how are aging rockstar supposed to dress? Do you have to answer this to your clients? YouDave Rose:Talk about this. Oh, yeah. We talk about, I mean, I tell artists this all the time, including my big artists. The biggest mistake you can make with a tire fashion, whatever you want to call it, is to not talk about it. You have to talk about it. A matter of fact, I recommend a band sometimes, particularly new bands, take a night and don't bring your instrument, get in a room together and talk about what you want This look to look like. It is so incredibly important and,Michael Jamin:But do you have an opinion on what it should be then? Should it stay what it was, or should it evolve?Dave Rose:I think it's interesting, like this eighties band striper that I talked about that I manage from the eighties, that it's the same guys 40 years later. Back in the day, there was a lot of hair and makeup and spandex pants and all the things that, and so no, they don't wear that anymore, and they don't wear the makeup and the teased hair, but they do an age appropriate version of that rock and roll gear and rock. ItMichael Jamin:Seems weird because the fans are coming to see their band. The fans don't want the band to age, but unfortunately the band aged.Dave Rose:Yeah.Michael Jamin:How do you give them what they want? It seems like, it seems like a really hard thing to struggle with.Dave Rose:It is. It's a tough thing. And the good ones, the ones that are really good at this, are good at sort of making fun of the, well, sort of making the audience one with them and sort of we're all aging together and this is welcome to us 40 years later. What I think we don't want is our aging rock stars to show up in sweatpants and a hoodie. We want 'em to show up at least caring and some resemblance of days gone by without being a carbon copy of that, because you shouldn't try to be,Michael Jamin:For the most part though, I imagine they're playing whatever their greatest hits, the songs that made them big, and the people, the fans, that's what they want to hear. And I imagine if I were a musician who's played the same song 30,000 times, I might get tired of this.Dave Rose:You would think, and here's what happens to a lot of them. Some do, yeah. They usually don't get tired of it. They get tired of being known only for that. There are some artists that have two or three mega hits so big you can't even compare. And as a result, there's no way for their catalog of deep catalog of hundreds of songs to sort of surface. It's why the band little feat that I worked with, they never really had a radio hit, and they always talked about the best thing that ever happened to us was never having a radio hit because we never had this super high. Instead, our fans consume our entire catalog. It's a little bit like the Grateful Dead in that sense. Grateful Dead never had this mega hit. They just had a lifestyle.Michael Jamin:Do they complain to you about this, though? Is this something they talk about?Dave Rose:Yeah, I mean, one thing that's interesting is when you're on stage and you're playing a 60, 75 minutes set or whatever, and you're playing songs from your catalog, one thing that you don't think about a lot, but when they hit that big hit, when they go into playing that big song that everybody knows of any song in that, it's almost like it's for them, it's a welcomed break in the set. Meaning when you're playing a new song, you're sort of working really hard to try to win this audience over on this new material or this unfamiliar material. So maybe if you're a rock band, you're probably moving around a little more. If you're whatever kind of band you are, you're just really giving it all to win over this crowd. But when you kick into a mega hit that they've heard a million times over, it's a moment you can just breathe.Michael Jamin:I see.Dave Rose:And go, okay, I'm good for three and a half minutes here. They're going to go nuts. No matter what we do.Michael Jamin:I would not have thought of. That's interesting you brought that up. I would not have thought it, but I would've thought it the other way around that like, oh, fuck, I got to play this again. ButDave Rose:No. Yeah, no. I do have a few artists that feel that way. One of my favorite moments in that regard was Sean Colvin. She's a kind of a folk songwriter artist, and she did end up having a big hit called Sonny Came Home, and that came out, I guess in the, I'm going to get the dates wrong, but that was a huge hit. Sonny came home and I went and saw Sean Colvin one night in concert, and she comes out on stage packed amphitheater, and she says, we're going to go ahead and play this song for those of you that just came to hear this, so you can go ahead and leave and the rest of us can have a good time.Michael Jamin:Is that what happened though?Dave Rose:That's why she opened the show when Sonny came home, and then what happened? I'm paraphrasing what she said there, but it was generally that for those of you that just came to hear the hit, let's play it. You can go about the way and sort of the implication was the rest of us who came to hear the entire catalog can now enjoy the show. DoMichael Jamin:You think people walked out? I mean,Dave Rose:Nobody left nobody. I was there. Nobody left. And that's a bold move. Yeah. I love that about her. And that's kind of the way a lot of artists feel about a big hit is like they don't dislike it. They love what it's brought to their career. They just dislike it being the only thing people may want to consume.Michael Jamin:I think about art, and you must have these conversations with your artists is like, how do you reinvent yourself on the next album when audience, your audience doesn't really want you to reinvent you. They want what they have, but if you give 'em the same, it's also like, yeah, we already have this. It seems so incredibly daunting to come up with another album that works,Dave Rose:Man. It is. And I got to say, in your world, I would think the same thing. How do you write the next episode given the audience what they want, but still keeping itMichael Jamin:Well, that's when they get mad at you. That's when they say the shows jumped the shark. Or they say, the show died four years ago. JumpDave Rose:The Shark. Is that aMichael Jamin:Term? Oh, yeah. I'm sorry. You haven't heard it. That refers to an episode of Happy Days when Henry Winkler, they put him on water skis and he had to jump a shark tank. I rememberDave Rose:That.Michael Jamin:And he was wearing a leather jacket when you saw Fonzi jumping a Shark tank in a leather jacket. You go, all right, the show is Jump a Shark.Dave Rose:Oh, I got to remember that. Oh, yeah.Michael Jamin:It's a famous term. Yeah, I worked with Henry years ago and we spoke about that.Dave Rose:Oh, really?Michael Jamin:Yeah. Yeah. It's funny.Dave Rose:What did you work on with him?Michael Jamin:It was a show called Out of Practice with Henry Winkler and Stocker Channing and Ty Burrell, and they were the three main leads, and Henry's like the sweetest man in Hollywood. But we spoke a little bit about thatDave Rose:Being a child of sort of growing up in the eighties. I'm going to be remiss if we don't at least, and I'm sorry, man, talk about asking somebody about their hit. Please tell me about Beavis and Butthead for a minute. I mean, I don't care what you tell me aboutMichael Jamin:There's, there's very little I can tell you. So I was friend, this is when they brought the show back. It's been on three times already. And the second iteration, our friends, John Altro and Dave Krinsky, they were the showrunners. They created Silicon Valley and now they're running the second beavers. But that was so they needed freelance writers. It was a really low budget thing, and they reach out to us and the money was terrible, but we just had a break in our, we were in between shows, so the timing was perfect. They said, do you want to write some Beavis? But so we pitched them maybe 10 ideas. They bought four, but that was it. I mean, that was kind of the involvement. Then we went to see Mike Judge, we went to the record session. So we'll go to the booth and we're all watching videos, and we we're literally standing over his shoulders watching music videos, just pitching jokes about what beef is, and Bud would say, and then he would go into the booth, do the voice, and come back out. That was my involvement. So it was only we because wanted, it was just a fun experience. It was not forDave Rose:Sure. Absolutely. What a, but again, I bet coming into it sort of midstream like that, what an even harder job. You've got hits. You want to give the audience what they expect, but you also want to give them what they don't expect. I mean, how you do that as an artist is hard.Michael Jamin:And do you have these conversations with your bands?Dave Rose:Absolutely. Yeah. Yes. Because the funny thing about music is none of us, if we sit down and listen to our Spotify list or whatever, and we have our catalog of music, none of us listen to one kind of music. We listen to all kinds of music, jazz and reggae and rock and whatever. We all have a mixture of taste, and depending on our mood, we want to explore that music. It's the same with artists. They don't think in one genre. They're artists. They're thinking all over the place. So it's really hard for them creatively to stay in this lane. It's why you see so many artists, I'm going to try to do a country record, or I'm going to try to do some other exploratory record, and that's okay. If you're Prince, you look like a genius. If you're Prince, if you're just starting out, you look confused. I don't know what I want to do, so I'm going to do a jazz song. So yeah, we do talk a lot about trying to stay, it's a terrible term for art, but trying to stay on brand with both your look and your sound and your music and the audience. When they go to buy a Bruce Springsteen record, they don't want to hear a jazz record. They want to hear good American rock and roll songs,Michael Jamin:But they also don't want to hear, I think you too may struggle with this. I think they got their sound, and it's like, all right, but I've already heard it.Dave Rose:They do struggle with that. Yeah, they've had a couple, and almost any act has their moment of when they look back on it, it's kind of like, what was I thinking?Michael Jamin:Right. I mean, to me, it sounds like I haven't listened to it in a while, but at one point I got an album there. I just thought it just sounded like every other, and they were amazing in the, I don't know, it seems like a very hard balancing act. How do you do this? How do you ItDave Rose:Is. It's why bands like Kiss, for example. I don't, I can't remember when. I think 20, I don't know. It was over 20 years since they recorded new music, just because they didn't want to attempt, they didn't top what they had done.Michael Jamin:I heard an interview by Cures for Fears, and they were talking about, and I didn't know this because really, I don't know the inside of music at all, but they were talking about how at one point, the album, I guess mid-career, that they were assigned a music producer and the producer kind of determined the sound. And I was, I surprised. I really thought that that's what they did. I thought they wrote all their songs and it said they were hearing songs written for them. I did not know that. I was really surprised. They are songwriters.Dave Rose:They are songwriters. And sometimes when a band or an artist hits that moment of how do we feed our fan base, but stay ahead of things, sometimes a good producer, outside writer can help move that along.Michael Jamin:On their last album, they shunned all that. They did it themselves, and I thought the album was terrific.Dave Rose:Yeah, I mean, I haven't heard it, but I've heard people say that,Michael Jamin:Oh, you haven't.Dave Rose:It's probably because they really went for the middle lane that they developed all along with their fan base. I mean, they're a brilliant act with an incredible catalog.Michael Jamin:Yeah. I mean, in the management world, at least in tv, in film, and for agents as well, it's not untypical for atypical for a writer or an actor to get to some point. Then they leave their manager or their agent, maybe they outgrow them or something happen. And how do you reconcile that?Dave Rose:Yeah, that happens all the time. In the music business, we call it the revolving door of managers and artists. I've had some come and go and come back and go,Michael Jamin:Really? Do you not take it personally then, orDave Rose:One of the things you have to do is truly not take it personally. And sometimes it's sort of like I look at it like this. If you were to own a restaurant and that restaurant grows and changes and involves a different manager, has different skill sets. We're not all graded everything. We're good at certain things. And if you happen to be at the place in your career to where you're with a manager that is good at the things you need, that's a perfect relationship. If you happen to go outside of that, then you might need someone with a different skillset. And oftentimes a manager is the first to say, I feel like I've taken you as far as I can.Let's find something new here. It's no different than a football coach or a restaurant manager or any sort of leader of a company. Sometimes for a lot of reasons, the stars align and sometimes they just don't. And if they don't, it's usually pretty recognizable to both parties. And there's very rarely, I mean, you certainly hear the stories both online and elsewhere of manager artists fallout, but by and large, I'm friends with every artist I've ever worked with, and I've never had a, I mean, I don't manage Bruce Hornsby anymore, but I just went backstage, went to his show and hung out with him after the show. And we talked about old times and had a good hang together. But there was a point in his career where I was and a point in my career where we just weren't at the same place, and I don't even mind sharing that. Yeah, please. He had been on RCA records for about 25 years, and the top brass at RCA was kind of changing, again, the revolving doors of executives at a record label, it was Tom. And so his life at RCA, his deal and relationship at RCA started to come to an end.And I was really, really, I had two other bands at RCA. I was sort of really inside the walls of RCA records at the time, and so I wasn't really best suited for the next step in his career, which was to find a new label, a New York based label. I was very much Nashville centric at that point, and it was just, we came to a place where I felt like for him to go where he needed to go, he needed somebody else, and he felt the same. AndMichael Jamin:It was, but that's another thing, because I see with my management, they have relationships at studios, and as you do have relationships and there, at the end of the day, you have your interests, and it is not like you're going to burn bridges with these studio that you have relationships with. You can only fight so much because of what you have with your other clients, right?Dave Rose:That's right. Yeah. It is probably like your business. It's a very small business at a certain level, a very small business. There's not a lot of, you're going to run into everybody again, and at some point you're going to want your act touring with their act, or you're going to want their act being featured on a record of your act. And if you burn bridges, it's just going to, I mean, I know people that do burn bridges, but it's rarely good.Michael Jamin:You are listening to, what the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, a collection of True Stories. John Mayer says, it's fantastic. It's multi timbral. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity, and Kirker View says, those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft, will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book. And now back to our show.What is then the pinnacle for, I mean, we know what the pinnacle for an artist's career would be, whatever, selling a ton of records playing the Super Bowl, whatever they aspire to do, but what's the pinnacle for your career?Dave Rose:Oh, that's a great question. Yeah, it's interesting. I was taking my son to school the other day and he said, daddy, work seems like it's really fun, is work really fun. And he's come to my office before, and I got thinking about that, and I've chosen a path that really is fun. Never, this sounds corny to say I've never felt like I've worked a day in my life, really. It just really has never felt like work. I am so amazed that people pay me to do this. I was doing it long before I knew you could make money at it. And so the pinnacle for me is really that this continued joy of the business of music.There's very few high level artists, celebrities I haven't met or come in contact with. And so none of that is really the moment for me. It's seeing an act like this band formerly that we're looking at. They're a country act. They've had four or five number one hits. They were playing in their garage in Greenville, North Carolina, small town where I grew up. I happened to just know them, and I took them to Nashville, one thing. So that's sort of what this business is for me. You see a band in a garage, and the next thing you know, they're accepting an award on stage, and it's just a beautiful feeling to know that you've helped an artist achieve those dreams.Michael Jamin:Interesting. It's interesting that that's where you take the joy in. I would think that part, you're not the one who wants that dream. You're not the one, the artist. You're not the one who wants that dream, your dream joy doing it for others.Dave Rose:I would think there's similar satisfaction in being a writer, I would think. I mean, maybe you were motivated to be on screen all the time or in front of the camera all the time, butMichael Jamin:No, not really. No, not really. But I think writers are worried about their career. I want to write this, I want to make a lot of money or whatever.Dave Rose:Yeah. Well, the money certainly an enjoyable part of it, but it's not the driving factor, and it can't be in music, so risky.Michael Jamin:But you also, I guess, arrange entertainment events,Dave Rose:Right? Oh, wow. Yeah, that's very, you did your homework. Yeah, so around the turn of the century, so I live in Raleigh, North Carolina. I'm in Nashville almost weekly, but I live in Raleigh, North Carolina, and in Raleigh, North Carolina, there are not a lot of artists management or record labels. It's a big, very creative music city, but there's not a lot of high level. So as Raleigh started to feel like they needed entertainment in their city and started thinking about amphitheaters and growth and expansion of their city, they kind of came to me saying, you've had artists play in these cities all over the country. Could you help us bring the good bad and the ugly of that to Raleigh and help us produce events? So yeah, over the past 20 years have become the kind of go-to, I produced the North Carolina State Fair and all the big festivals,Michael Jamin:But you keep it to this one region, though.Dave Rose:I do. I pretty much stay in the central, the Eastern North Carolina region. And it's funny because when bands go out on tour, I'm managing bands. I learned from Bruce Hornsby one time. I called him, I'd always check in after the show, and how did it go and whatever. And he went and played one show somewhere, and I said, how was the show? And he said, he kind of laughed while I said this, but he said, I was staring at a funnel cake sign the whole time. WhatMichael Jamin:Does that mean?Dave Rose:Funnel cakes? So you're playing this car almost like a carnival. Not that there's anything wrong with that, and there's plenty of respect in funnel cakes, but as an artist who played in the Grateful Dead Done Jazz records, not really his thing. So I kind of made a joke of always keep the funnel cake stand a little bit away from the stage, but I took all of this feedback from artists, what the backstage was like, what the stage was like, what the PA was like, what the lights were like. I took all the good, bad and the ugly from the artist, and I brought it back to my community to try to make the best concerts and events.Michael Jamin:I imagine there was a huge, not just a learning curve, but also financial risk in the beginning for you. No,Dave Rose:Yeah, I racked up a lot of credit cards.Michael Jamin:Oh, really? I mean,Dave Rose:Oh yeah.Michael Jamin:Wow.Dave Rose:Yeah. One of my, yeah, I sure did. We started this company on a credit card, and that's what got us going. We produced CDs on credit card. We racked up a lot of credit card debt hoping this would win.Michael Jamin:What do you, and it's paid off.Dave Rose:It's paid off,Michael Jamin:Right?Dave Rose:I paid it off last week.Michael Jamin:Just last week. You made a final payment, you got points for it. But what advice then, do you have for, I guess, new artists? I mean, maybe either musicians or, I dunno, artists.Dave Rose:Yeah. I think the hardest thing to do, particularly in this world of TikTok and YouTube and reels, is to really be authentically you, because it's so easy to want to try to be the person that just went viral,And that's never going to move the needle. That's never going to make a big splash. You might have a moment, I don't know if you remember, maybe three or four months ago, there was an artist on TikTok named Oliver Anthony that went massively viral. He is a bearded guy from the mountains and kind of just sang very, very pure songs, but went enormously huge. And within weeks, you've got every mountain guy with a beard trying to do the same thing. And it's really hard to not do that. When we're faced with that all the time, back in the day of Led Zeppelin, the Rolling Stones and everything else, one didn't really know what the other was doing.Michael Jamin:SoDave Rose:You went into your bubble and you created art in a way that you felt led to do, and now you're so pressured to try to be the next viral thing, and that's the hardest thing. So my advice is don't do that.Michael Jamin:Yeah. You also, it's funny because I am a fan of your tiktoks. You give such interesting, great advice. You gave one post, this was maybe half a year or maybe a year ago, I don't know. And I was like, yes, I wanted to stitch it, but I guess I just didn't have the balls. And then I forgot about it. The post you did was, I guess a lot of people come to you for advice, and they just think they can just, Hey, you pick your brain or buy you a cup of coffee cup as if your time is worth $5 an hour, because that's what coffee costs. But you handled it very gracefully and graciously, but I'm not sure. Did you get any blowback for it?Dave Rose:Yeah. You're on TikTok, the blowback key. I mean, you definitely get, but by and large, by and large, what I ended up getting is it's been beautiful actually. Ever since then, I've got a lot of artists coming to me saying, look, I'm not going to offer to buy you a cup of coffee. I know how you feel about that, but I would like 30 minutes of your time, and how would I go about doing that? That's a beautiful way, I mean, I really picked this up from an attorney one time, and I was on the three-Way call with an artist, an attorney, and myself, and the artist said to the attorney, Hey, I got this contract and I don't really have a lot of money to spend, but I was hoping you could read it over and I could buy you a cup of coffee and pick your brainMichael Jamin:On it. Yeah. What did the attorney say?Dave Rose:And the attorney said, look, I understand you mean well, but I only have two things to sell. I've got my time and my knowledge, and you have just asked for both of those things for free.Michael Jamin:Yes. That's a good way of saying it.Dave Rose:And I just thought, wow. That's right. And as a manager, that's what you have. You got your time, your knowledge, and your connections. And if you're picking my brain, you are asking for those things for free. And I don't have anything else to feed my family with, butMichael Jamin:I wonder, is it because, because people ask me the same thing, and I guess it's because some people are actually giving it to them for free. Do you thinkDave Rose:It is? Yeah. I mean, they must be, or otherwise they wouldn't be doing it, I guess.Michael Jamin:But then I wonder if you're only paying $5 for advice, and that advice is only worth $5, I mean, why would you want to take $5 advice?Dave Rose:Right, exactly. Yeah. But yeah, that's been a tough part of the music business because yeah, so thanks for noticing that. But I do think we, as a sort of service society, whether you're a screenwriter or whether you're a manager or an agent or whatever, all people really have is what's in their head and their time. And so to take that so lightly is to think that buying you lunch is going to somehow make it worthwhile. It just doesn't, not only doesn't make sense in a strange way, it's rude.Michael Jamin:Well, I don't think it's strange. I mean, I do think it's rude. Yeah, yeah.Dave Rose:But as I said, I think in that TikTok, I said, I understand you're offering to buy me something. So I understand that you're trying to be in your own way, polite, but let me just educate you. That's not a compliment to say that your time is worth a cup of coffee.Michael Jamin:Yeah, yeah. But I appreciated that video. I really did. I was like, doDave Rose:You get a lot of people asking to pick your brain?Michael Jamin:Yes. I guess less and less, butDave Rose:You do some consulting as well, right?Michael Jamin:Well, what I did was eventually I signed up for, there's this app where you can sign up to be an expert. And so people ask me a question, sometimes it's an autoresponder, and it says, if you want to book time with Michael, you can do it. So here, a half a dozen people have booked. Everyone's asking, but no one books time. So to me, interesting. And I didn't do it because that's to make money, but I was like, well, look, if you want it, you're going to have to pay. But they don't want it bad enough to pay. So,Dave Rose:Well, it's interesting. I'm on a platform called August managers.io, and that's where I do my 30 minute consultations. And I've partially used it as a filter. It's funny, I'll get artists that go out and spend $10,000 on recording and $10,000 on video and photo shoots, and then they'll come to me and say, can I pick your brain for a cup of coffee? And I'm thinking, you have just spent $20,000 making music, and now the most important part, getting it out to the public, that's worth a cup of coffee to you. So I sort of use this platform as a filter. It's like Chemistry 1 0 1 in college. If you're willing to just invest a tiny bit to spend a little bit of time with a professional, I at least know you're serious.Michael Jamin:Yeah. That's how I see it as well. So you're weeding people out. They don't really want, yeah, I guess that's how unserious they are. If they're getting caught up on booking a half hour with me, then they don't really want,Dave Rose:I would think in your world, people want you to read their script, isMichael Jamin:That, oh, there's a lot of that, but you got to pay me way more than, I mean, here's the thing. I don't even do it, but they all want it. They want me to spend an hour and a half reading their script, another hour assembling notes, and then another hour on a phone call them giving them my notes while they get angry and defensive telling me why I'm wrong and do it for free. I mean, oh, yeah, okay. That sounds like a ball to me. But it's not about the money. The answer is no, all around. But it also exposes me to liability side because I don't want to be sued for taking someone's idea. SoDave Rose:Totally. I mean, that's a big part of the music business a lot. You'd hear about unsolicited music, and a lot of people, myself included, will not even open an email with music attached if I don't know who it is. Is itMichael Jamin:Because for liability reasons?Dave Rose:Yeah. TheyMichael Jamin:Think you're going to steal their sound or their song.Dave Rose:I think Yes. I think they do think that. And I think in the history of the music business, that has happened maybe three times. I mean, it just doesn't happen. Interesting. So it's funny that that's a topic even, I don't know if it happens in the film and TV business, but in the music business that anytime you've heard of a lawsuit of one suing the other about a sound, it's very, very rarely actual theft. Most often, there's only eight chords, and you can arrange them in only so many ways. And if you're in a genre like hip hop or country where it's in some ways a little bit of a formula in the way your pop music is that way, you write very narrow melodies and chord progressions. It's bound to your, I mean, about the a hundred thousand songs released a day, you're bound to cross paths there in a close manner. It's very rarely malicious.Michael Jamin:So then how are you listening to new music, if at all? Is it because you see an act on stage or something?Dave Rose:Yeah, no, I will listen to it if it's coming to me from a vetted source or if it's coming to me in a way that I feel. But I get a lot of just very blind emails, never met, seen, heard of the person. And one of my favorite quotes was Gene Simmons said one time, look, if I'm hearing about you for the first time from you, you're not ready.Michael Jamin:You're not ready. Interesting.Dave Rose:Because we keep our ears to the ground. I mean, I'm hearing about artists all the time. I mean, I can't go to the dentist without hearing about five new artists. People know that we work in the music business. So no matter where I go, the coffee shop, the dentist, the pizza shop, whatever, they're going to tell me about their cousin that just released a song. That's the next Beatles. So I hear about stuff, and if I hear about it from 7, 8, 9 different places, I start to know there's something there.Michael Jamin:Right. I directed Gene Simmons, by the way, on an animated show. I had to yell. NoDave Rose:Way.Michael Jamin:Well, yeah. Well, he came into the studio like a rockstar, which is what he is, of course. And then he is holding court and, Hey, dude, we're paying for this thing. And I knew I was going to get yelled at by my boss, so I had to say, Hey, gene, we're recording now. I had to tell shot him, get onto the microphone.Dave Rose:Oh, that's awesome. He is a really interesting person. I've met him a couple of times. I really am amazed by his story.Michael Jamin:That's funny. Chrissy Hy came in. My partner had to direct Chrissy, and she came in also like a rockstar into the booth, and she's smoking a cigarette and you're not supposed to with the equipment. And he asked her to put it out, and she wouldn't. And he was like, that's fine with me. Whatcha going to do?Dave Rose:I love it. She'sMichael Jamin:Chrissy Hein. She gets to do what she wants. But that's so interesting. Yeah. I get that same sometimes when people ask me a question and I wonder if you feel the same way about breaking into the business or some kind of basic thing. They leave a comment and I'm like, all you got to do is just scroll down and all my videos are labeled. You're going to find it. I wonder how bad you want it. If you feel like you have to ask me without looking. This is literally the least you have to do to find an answer nowadays.Dave Rose:I did a video recently where one of the most common questions I get is, somebody will present their music to me and they'll say, do you think I have what it takes to make it? And that is without question, the hardest question to answer because I don't know your definition of make it. And to be honest, a lot of people don't know their definition of make it. I had a band come into my office one time, they finally, they've been wanting to line up a meeting. They came in and they said, I said, so what do you guys want to do? What are you hoping to do? And they said, well, we want to be successful. You know what I mean? And I said, well, no, I don't know what you mean. Tell me what success means to you. And they said, well, we want to make a living at music.I said, well, that's good. I can have you doing that within 30 days. And they kind of looked at me like, wow. We hit the jackpot coming to this meeting, and I said, here's what we're going to do. We're going to buy you a bunch of tuxedos. You're going to learn some top 40 songs. We're going to play the wedding and corporate cover circuit, make a great living. They kind of looked at you and they were like, no, that's not what we meant. Okay, let me change that answer. We want to make a living playing our music. I said, alright. Little bit harder to do, but we can still do it. There's sports bars around the country where you set up in the corner and they don't really care what you play, your background music, but you make a pretty decent living. You'll make good tips.We're like, no, no. Lemme think about this. They thought about it for a little bit more and they said, okay, we got it. We want to be on the radio. Then one other guy spoke up and he said, playing our music. I said, okay, I got you, my friend does the Sunday night local show on the radio station. He's a friend of mine. He'll play anything I send him. I'll send him your song, he'll play it on Sunday. You will have been successful. And they like, all right. And one guy spoke up at that point and he said, I see what you're trying to do. You're trying to confuse us. I said, no, no, no. You're quite confused on your own I'm trying to do is point out that I can't help you until you know what you want. And there's no wrong answer to that. Some artists come to me and say, I want world domination. I want to be the next big, huge thing. And others simply say, I just want to make great music and I don't really care if I make a living. I just want good quality music out there.Michael Jamin:Is that right?Dave Rose:Oh yeah. PeopleMichael Jamin:Really do. But I imagine, I mean, you got to pay your bills. That's not attractive to you. Right?Dave Rose:It's not attractive to me and that's okay, but there's still a place for that in this world. But yeah, and here's the other thing. A lot of people think they want that world domination and playing arenas, but the moment we start saying things like, well, let's say a country artist came to me and they said, I want to be the biggest country star in the world. First thing out of my mouth would be, you're going to need to move to Nashville. You don't need to do that in every genre, but in country, that's a must be present To Win town, you're going to have to be in Nashville. Well, I don't really want to do that. I got this and a job and whatever. So I tell people all the time, prioritize where music is in your life. It doesn't have to be number one, but just knowing where it is will help you make decisions on what's most important. When I give advice to artists, I often ask them, do you have kids and are you married? And tell me about your personal life. The truth is, the advice I give to someone with a two month old baby at home is different than a single 21-year-old that can go out and explore the world.Michael Jamin:What do you think it is that people like me, Hollywood, what do I get? What do we get wrong about the music industry when we portray it on TV and film?Dave Rose:Oh wow. Well, it's funny because in every music based show, I used to watch the show Nashville, which was produced very well, and it was done in Nashville, so it had a lot of authenticity to it. But I think what I don't think you get it wrong, I think you have to portray it this way because that's the way TV is made. But you can go from in one episode writing a song to going on tour with Bon Jovi all within a week or two's time, what seems like a week or two's time in a film or TV show. And it's a laborious, long as you know from any aspect of entertainment, it's years before you start to take off from that runway. It's a several year runway, but I think the public as a result of just all of our short attention spans shows and even movies have to be written. So that what seems like in a couple of months, couple of weeks, sometimes you go from writing this song to touring with Beyonce.Michael Jamin:Why do you think, and I say this selfishly, I want to know for myself, why do you think the runways is so long before you take off? Why does that mean, why does it take so long?Dave Rose:Well, I think a lot of it is because writing music, like writing anything takes a lot of hours to get good at it.Michael Jamin:Okay, but let's say you got your album out and it's a great album now it's going to take years beforeDave Rose:No, no, no, no, no. It's going to take years to get that greatMichael Jamin:Album. Right. Okay.Dave Rose:Right. Once that great album is assembled and together, it can be a relatively, I mean, it can be a relatively short runway to success once that great in Nashville, there's a saying when somebody comes into me with a publisher and a publisher is someone who oversees the copyrights of songs, but when someone comes to me with a publisher and they say, how many songs have you written? No matter what the answer is, they almost always say, come back when you've written your next a hundred. Really, there's kind of an unwritten seven year rule in Nashville. You should not expect success for at least seven years after you come to townMichael Jamin:With your first album,Dave Rose:With your first set of releases. It just takes that long to get really, really top level good at this in any genre. I think, I mean, if there was a comment section on this podcast, there would be tons of people giving me the exceptions to those rules right now, which is the beauty of the music business or any entertainment. There's exceptions to that rule. There's overnight sensations, but by and large, most of the big artists had a long runway.Michael Jamin:So you're listening, if you were listening to an album by a new artist, you're thinking, okay, maybe one or two songs has got something in the rest are just not there. You're sayingDave Rose:Sometimes. Yeah, sometimes. I mean, you take a band, it's funny, that first hit, I worked with Sex and Candy, the band, Marcy Playground, between the time they rode and recorded that and it became a number one hit was four years.Michael Jamin:Okay,Dave Rose:Four years.Michael Jamin:Right. Okay. So they had the goods, but it took four years before people discovered they had the goods.Dave Rose:That's right. That was a very interesting journey. They charted on college radio and then they tried to work to regular radio. It didn't happen, and they label problems and they tried again and it finally happened. Same thing with this band, sixpence On The Richer and the song Kiss Me. They had that song Kiss Me on a Record, and it did not become a hit for another two years.Michael Jamin:Wow. Okay. So then how do they do that? Is it just touring? Is it just getting it out there? Just having people listen,Dave Rose:In the nineties it was touring. It was just getting out there and touringMichael Jamin:Even. Not today. You're saying today's it's not like that today.Dave Rose:It's not. I mean, it's some touring is one aspect of it, but the beauty of Michael, you and I would not be here talking if it were not for TikTok. And as much as I love to hate on social media platforms for all the reasons they're easy to hate on there is I tell our assist all the time. There is someone in Topeka, Kansas right now that loves what you do. You just got to find them. And if you do, there'll be fans for life. But unless you plan on touring Topeka, Kansas this week, you're not going to find 'em. So get online and postMichael Jamin:How many, I've heard numbers and I if it's true, but how many crazy, what's the word, rabid fans, do you need think a band needs before they hit critical mass?Dave Rose:Well, critical mass is a subjective term, but I say this a lot. You only need a thousand fans. And I'm talking about real fans. Fans that would give the shirt off their back fans. I'm not talking about followers,Michael Jamin:I'm notDave Rose:Talking about likes or subscribes,Michael Jamin:Right? People who open their wallet,Dave Rose:A thousand fans that consume everything you put out. That's all you need to make a great living in music.Michael Jamin:But how is that possible? Okay, so if you've had a thousand fans, they're scattered all across the country and I don't understand, how does that make you a good living? You can put it on a new album to a thousand fans. How does that make you a living?Dave Rose:I'll tell you how that is because when I was 10 years old, I had a older cousin, cousin Rick and I went to his house and he had a wall of vinyl records, more vinyl records than you could ever imagine. And he reached and he had got a new stereo and he wanted to show me the stereo, and he pulled up a Boston record, the classic rock band Boston. They had just put out their first record and he put it on the turntable and he was telling me everything he needed to tell me about Boston, and I was just mostly fascinated by the fact that of a thousand records on his wall, he picked that one to tell me about it. And from there I went and bought the record. I consumed, I bought the T-shirts, I bought this. The thing about a thousand fans is they're your marketing arms. A thousand fans are not going to keep your music close to their chest and keep it over here in the corner. They're going to tell everybody that'll possibly listen. And if you've got a fan that it gets in the car with their friends and they got three minutes to the next drive and a billion songs to choose from, they're going to choose yours. And that's going to turn those fans, those friends into fans. So it starts with a thousand core fans and you can really take over the world.Michael Jamin:I wonder, and again, I say this selfishly, I put out a book, and so this is the first venture. I've done solo

Today on Jobology, I am joined by an Independent Music Manager who represents performing artists. We learn what it takes to thrive in the music industry when operating as your own business and how team sports can help make a great manager. Check Out:   Arin Ray https://www.arinraymusic.com/ https://www.facebook.com/ArinRayCamp/ https://www.instagram.com/arinraycamp/ https://open.spotify.com/artist/6TvjXbopXg71XRM9OZWqUc https://twitter.com/arinraycamp https://www.youtube.com/channel/UCg2JPYRy9DDyD0_pLt6FfJA https://music.apple.com/us/artist/arin-ray/575436666 Savannah Cristina https://www.youtube.com/c/SavannahCristina https://open.spotify.com/artist/7EsWLpczyTXU6zyfWt7ZkN?si=FI0bzVbeRhWw-ByBx-wXUA music.apple.com/us/artist/savannah-cristina/1165260578 instagram.com/savannah.cristina twitter.com/saveannah SkylerGoHome https://open.spotify.com/artist/0i3sMtfZuD9VY0Jc7whF7G?si=nik7EgMXQ_6-5cjiIH4w9Q https://www.instagram.com/skylergohome/ Michiko Mada https://open.spotify.com/artist/68oa0LPmr0FyjXzzW1CLTD?si=qiygp1ulTYe7TTY3dPolWA https://www.instagram.com/brendamada/ ~~~~~~~~~~~~~~~~~~~~ Follow Jobology Website: https://www.jobologypodcast.com/  YouTube: https://www.youtube.com/jobologypodcast Instagram: https://www.instagram.com/jobologypodcast/  Tiktok: https://www.tiktok.com/@jobologypodcast Twitter: https://twitter.com/jobologypodcast  Facebook: https://www.facebook.com/JobologyPodcast  T-Shirt: Proof Lab Surf Shop (https://www.prooflab.com/) “Make Good Choices” --- Support this podcast: https://podcasters.spotify.com/pod/show/jobologypodcast/support

Tomorrow's hits today! Introducing Entertainment Industry Legend Andy Gould! Andy has managed A-List bands and rock stars such as Pantera, White Zombie, Rob Zombie, Linkin Park, Lionel Richie, Morrissey, and Guns N' Roses. In 2013, he also established his own label, in partnership with Universal Music Enterprises called T-Boy Records, which signed such acts as Megadeth, P.O.D., and Eagles of Death Metal. After establishing himself as a legend in the music industry, Andy Gould seamlessly segued himself into the role of producer. He's produced all six of Rob Zombie's films including the controversial and critically acclaimed Lionsgate films House of 1000 Corpses and The Devil's Rejects. Gould also produced Zombie's re-imagining of the horror classic Halloween (2007). He continued his role as producer on Halloween 2 and partnered with Film Roman on the animated feature, The Haunted World of El Superbeasto. In 2012, Gould and Zombie produced their 6th feature, The Lords of Salem, produced in conjunctionwith Jason Blum and Oren Peli (Insidious, Paranormal Activity franchise), and premiered to critical acclaim at the Toronto International Film Festival 2012. Anchor Bay Films emerged as the home for the film, which was released theatrically in 2013. Zombie's latest film, horror juggernaut “31”, premiered at Sundance in 2016. In 2019, Gould successfully completed American Satan starring Malcolm McDowell. Andy continues to produce movies and manage artists. Most recently, Gould produced the upcoming supernatural horror film Hellbilly Hollow with rising rock star Kurt Deimer (A multiple-time OTC guest). He also began developing his first country artist, Caroline Jones, as well as new relationships with TEMPT (newly signed to Allen Kovac's Better Noise Records), mega-show band Yachtley Crew, New Zealand-based rock band Black Smoke Trigger, and Drowning Pool. Phew!!!! What a career! This is an amazing interview with so many great stories about Rock N Roll legends and a tale of not accepting "NO" to achieve one's dreams!:) Andy tells us the story of how he got his start in the record industry from humble beginnings in South London as a bike messenger and how that led him to work at AIR London Studios under Sir George Martin (yes, THAT George Martin of the Beatles)! He shares with us the complexities of managing artists and tells us an amazing story about Morrissey at Coachella! Next we hear about Axl W Rose's difficulties in completing and releasing the Guns N Roses album Chinese Democracy. Andy then introduces us to 2 of his newest bands Black Smoke Trigger and Yachtley Crew! We get breaking news about the to be announced tour dates for Black Smoke Trigger with some Rock N Roll Legends! What a scoop!:) When Andy rejoins us for the second part of the interview, he tells us about the T-shirt he was wearing for the band he now manages...Yachtley Crew!!! What is that??? Christopher Cross in the style of Motley Crue??? Lol Andy explains! After that, we listen to Black Smoke Trigger's new single "The Way Down" and he tells us how he connected with them. Go check out their video that he describes for "Caught In The Undertow" here: https://www.youtube.com/watch?v=FOnAtpOyWCs He also talks about the upcoming movie "Pandemic" tentatively to begin filming in the Spring. Maybe Danny and Ilan will make cameos!? :) All this and Danny, Ilan and Bob pick 9 hot new tracks you need to know about: "All Night" - IVE, Saweetie "Nobody Loves Me" - Rivals "In The Trunk (Danny Meyers Strip Club Mix)" - FendiDa Rappa, GloRilla "The Way Down" - Black Smoke Trigger "Mwaki (Tiesto VIP Mix)" - Zerb, Sofiya Nzau "the Edge" - ESSEL "Ready For This" - Laurell "J Christ" - Lil Nas X "Alibi" - Ella Henderson, Rudimental "Sex Sells (Hard)" - TX2 www.whatshotitsc.com Instagram: @whatshotinthestripclubs @ilanfong @djdannymeyers Go join our Facebook group What's Hot In The Strip Club Podcasts!:) Learn more about your ad choices. Visit megaphone.fm/adchoices

Over the last two decades as an artist manager, Andre Mullen has helped recording artists and labels gross $6,780,000 in new business, deals, publishing, and royalties. Then, in 2021, he burned out. So, he retreated. Now he runs a boutique consulting firm for artist managers and creative entrepreneurs and create digital products for artist managers. When he's not consulting and building products, he is an active member of The Recording Academy, a mentor to other artist managers and artists, and a speaker at yearly music conferences such as Canadian Music Week and Daze Summit. https://moneymaestroblog.com/ep-54/

Matt Bacon is a jack of all trades - but that title isn't followed by the typical “master of none” caveat. Matt does lots of things, and he does them really well. In the past we've talked to Matt about record labels and Facebook ads. This week on the show, we're talking about artist management. Are you ready to hire a manager for your band? Would a manager even be able to help you? Listen now to learn about artist management, how to attract a manager, and when you're truly ready for management! What you'll learn: Why you already know Matt BaconWhat an artist manager does for their clientsThe artist/manager hierarchyDetermining what each artist needs from a managerWhich tasks an artist needs to focus on if they don't have a teamAuthenticity as a bandPutting your audience firstHow to present live photos and content without looking cringeTelling stories by constructing a narrative - vs. letting people make their ownWhen a legitimate manager will reach out to youWorking within the vision a manager has for youHow to get new opportunities for your band For full show notes, visit https://bandhive.rocks/213

PART 2 of Amy's chat with Camille Alston is less on business and more on Camille's personal life. Specifically, the loss of her father and how he's very much still with her, guiding her in spirit. Amy also shares a clear sign her mom sent her from the other side just the other day and they chat about so much more. If you missed PART 1 (more on the start of Camille's business) check out last Thursday's episode: 'Nobody Really Knows What They're Doing.'    Speaking of Camille's business, 2 days after last week's episode aired, a tornado hit her warehouse and she has since had to close up shop. Below is a note from her website on what to expect & how you can still support this amazing small business if you'd like.    From N.B. Goods Website: HI FRIENDS. UNFORTUNATELY OUR WAREHOUSE & INVENTORY TOOK A DIRECT HIT IN THE TORNADO. WE WILL BE CLOSED WHILE WE ASSESS THINGS. ALTHOUGH OUR GOODS ARE GOOD, THEY ARE STILL JUST THINGS. WE ARE GRATEFUL FOR OUR SAFETY AND THINKING OF OUR NEIGHBORS WHO WERE NOT AS FORTUNATE. WE ARE DOWN BUT NOT OUT. UR HOPE IS TO RETURN IN EARLY 2024. IF YOU'D LIKE TO SUPPORT US BY PURCHASING A GIFT CARD YOU CAN DO SO HERE!   HOST: Amy Brown // RadioAmy.com // @RadioAmy GUEST: Camille Alston // @shopNBgoods // shopNBgoods.com hello@shopnbgoods.comSee omnystudio.com/listener for privacy information.

Episode 179: Claire Moon - Artist Manager - Paul WellerOver the course of the past 3 years, we've discovered so much more about how Paul Weller has built one of the most prolific and influential careers in British music, and in this episode we get to peek behind the curtain.Artist manager Claire Moon opens up about her professional journey, leading up to that first fateful meeting with Paul at V2 Records and how she later became his manager - overseeing the business operations at Black Barn Studios. With stories about running the calendar, promoting albums, planning tours with Paul and the Wheeler's, and protecting his back catalogue, Claire reveals how she strategically manages Paul Weller's enduring career.Their deep mutual trust allows her to support his constant drive to make music on his own terms.We get a deeper understanding of his relentless creative spirit - how he is often already busy conjuring up new projects as previous albums are still being promoted - for instance, launching a clothing line or even taking an acting role in a movie...What also really comes through for me is that Claire makes clear her role is to support Paul's ambitions, not to control them - a trust that has allowed one of music's true innovators to continue evolving without losing his essence.Get ready for an all-access pass into Paul Weller's world with this illuminating conversation... It's a huge honour to have Claire on the podcast to share her experiences in the music industry and at Black Barn HQ...Music Immersive...I also chatted to Claire about her role working with Stan Kybert at Music Immersive - the UK's only dedicated immersive music studio. The team pride themselves on meticulously and respectfully enriching artist's music, with the focus on preserving their original vision. Find out more here... Hosted on Acast. See acast.com/privacy for more information.

PART 1 of Amy's chat with Camille Alston is about 'How I Built This' - Camille made other people's dreams come true in the music industry for 15 years (managing artists like Kelsea Ballerini & Brett Eldredge) and then she stepped away from her career to follow a passion for classic & witty gender-neutral style. In 2020 she founded N.B. GOODS and people are loving her nostalgia-driven brand that specializes in accessories, apparel, and gifts in Nashville, TN. Her story will encourage you to also chase your dreams & remind you that nobody knows what they're doing.....we're all just figuring it out as we go! FUN FACT: Camille and Amy were on 'Building Roots' together (season 2, episode 2) when Amy's sister and her husband brought their show to Nashville. If you missed the night it aired on HGTV the episode is called 'A River Runs Through It' and you can stream it on HBO MAX. PART 2 This will air next week and will focus less on business and more on Camille's personal life (specifically, the loss of her father and how he's very much still with her, guiding her in spirit.) It will air next Thursday. Such a good chat. You won't want to miss it.  HOST: Amy Brown // RadioAmy.com // @RadioAmy GUEST: Camille Alston // @shopNBgoods // shopNBgoods.com hello@shopnbgoods.com725 Porter RoadNashville Tennessee37206 United StatesSee omnystudio.com/listener for privacy information.

Tour Manager Maggie Kimbro speaks with Music You're Missing host for a special episode of Music Industry Experts. Drawing from her extensive tour management background, which includes working with artists such as Charlotte Sands, Emlyn, Arlie, and Elise Trouw, Maggie shares valuable insights into the daily responsibilities of a tour manager. She discusses best practices for effectively overseeing a tour and offers advice for individuals aspiring to become tour managers, as well as for artists who take on the responsibility of managing their own shows.FOLLOW MAGGIE KIMBROlinkedin.com/in/maggiekimbro/instagram.com/maggiekimbro FOLLOW BRENDAN JEANNETTI:instagram.com/brendanjeannettilinkedin.com/in/brendanjeannettiFOLLOW MUSIC YOU'RE MISSING:musicyouremissing.orgMusic You're Missing is a top music podcast based in Boston, Massachusetts. For all inquiries, email musicyouremissingpodcast@gmail.com

Week over week we give you opinions on music, stories from artists, freestyles and more. Surprisingly enough in almost 4 years, this is the first time we've actually sat down with a talent manager and we're starting with a good one! This week we welcome the hailing from Roxbury entrepreneur Robert “Rob” Kelley-Morgan, who is the founder of PUTINWORKtv, PUTINWORK Records, and also some other ventures he has his hands in. Rob has over 9 years of experience in the talent management space and a lot of people know him for his recent management of one of our most recent guests, SeeFour. While on a press run for the first release on the label “Spirit of a Warrior”, Kelley-Morgan stops by the pod for a long overdue talk with our team where he dropped a lot of gems in a very passionate way! We also gave him his flowers for his 2 Boston Music Awards nominations for “Artist Manager of the Year” & “Music Publication of the Year” for PUTINWORKtv, which he reciprocated for our mission for the 3peat of “Music Podcast of the Year”. Join Charlie MaSheen, Gina, & KASH as we host the PUTINWORK boss in a talk about his career & rebranding, some former artists he used to manage, his opinion on our duty as the most popular independent music platform in the city, & SO MUCH MORE‼️ This description would have been way too long if we wrote everything we spoke about but Rob himself described it as “A 2 hour masterclass on honesty, intent and purpose” SO TAP IN NOW‼️BE SURE TO GO CHECK OUT SEEFOUR's ALBUM “Spirit of a Warrior” OUT NOW ON ALL DSPs‼️CHECK OUT ALL OF OUR CONTENT:http://www.linktr.ee/CWTFBradio