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Speaker 1: Welcome, Welcome, Welcome back to the Bob Left Podcast. My

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Speaker 1: guest today is manager extraordinaire Scott Roger, who looks after

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Speaker 1: such acts as Paul McCartney, Shania Twain Andrea Bocelli. Scott,

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Speaker 1: good to have you on the podcast. Thank you, Bald,

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Speaker 1: nice to see you and hear you actually tell me

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Speaker 1: who you're looking over completely in your management roster. Now, boy,

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Speaker 1: we get a bunch of young development offists, you know,

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Speaker 1: and that's something that i'd straight away from for a

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Speaker 1: few years and really go back into. You know, we

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Speaker 1: just signed just under a year ago that young twenty

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Speaker 1: year old from Nashville coach Celia Castleman, who's working with

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Speaker 1: Daniel Glass. Um. We did the album with Dona was

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Speaker 1: in l A which was great with Peter and Palladino

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Speaker 1: enable Boreal as her backing band. She plays guitar, so

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Speaker 1: we made an and we just went a minute album.

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Speaker 1: This is a kid who hasn't released a single thing.

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Speaker 1: There's no social media. Well, well let's go back to

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Speaker 1: the very beginning since we're going into detail. How did

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Speaker 1: you find her? Daniel Glass? He emailed me and says,

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Speaker 1: I found this girl. I think you might be interested

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Speaker 1: in working with We just signed there and he sent

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Speaker 1: the music and I thought it was great, and we

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Speaker 1: arranged a zoom because this is still you know, through COVID,

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Speaker 1: and she was so good. She played the song She's

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Speaker 1: in the bedroom in her mom's house, UM, and I

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Speaker 1: thought it was so good. I flew to Nashville about

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Speaker 1: a week later to sit down with her to see

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Speaker 1: if it was a real deal. And she's legitimately the

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Speaker 1: real deal. Alison Cross found her because she knew her

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Speaker 1: father her father, and then Allison referred her to her attorney,

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Speaker 1: who looks after her own career. And then from there,

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Speaker 1: the attorney sort of brought in publishing in label UM

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Speaker 1: and we just jumped in and made an album. She

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Speaker 1: had about forty so so we're gonna launch the first

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Speaker 1: song in March. Daniel was telling me about this and

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Speaker 1: telling me that he was putting a lot of money

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Speaker 1: into the recording, more than usual. Was that your perspective, Yeah, definitely,

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Speaker 1: because he he just signed it to little development EP

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Speaker 1: deal and then everything naturally fell into place, you know,

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Speaker 1: like we thought, can we make this a bit more

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Speaker 1: of a story. You know, the way records used to

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Speaker 1: be made, you know, instead of just going locally with

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Speaker 1: some young natural producer, make a very nice record, no

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Speaker 1: real story behind this. We took a time. We spent

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Speaker 1: a good six months, and I sent a few tracks

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Speaker 1: to Dawn because he's a friend, and and it was

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Speaker 1: actually it's a serious recommendation. She's like, hey, you know,

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Speaker 1: i'd love Done Wars. I'm like, you're twenty. How do

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Speaker 1: you even know who Done War? Was it? You know? Um?

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Speaker 1: But she's such an old soul. And I sent him

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Speaker 1: to Dawn and don't call me the next day and

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Speaker 1: he's like, how do you find these people? You know?

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Speaker 1: This is amazing? Is this she really this good? He

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Speaker 1: was kind of blown away by it. She can't be

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Speaker 1: this good. I never do new projects ever, you know.

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Speaker 1: And and that's where the conversation stuff. Cecilia went to

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Speaker 1: meet Don, who was in Detroit at the time, and

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Speaker 1: they hit it off and he's like, let's just do

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Speaker 1: the album. And from there you pool every favor young artists,

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Speaker 1: low budget, the team enhanced the studios who I love

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Speaker 1: Farrel who who runs the studio. She went, oh, we'll

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Speaker 1: well we'll cut your deal. You know, we've got this time,

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Speaker 1: and this time we'll do half rights. She made so

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Speaker 1: many friends, she got she'd never left Nashville. She went

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Speaker 1: to l A with her mom, started recording John Mayer's

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Speaker 1: there the first day and she texts me sure, Oh

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Speaker 1: my god, I'm just make John Mayer. You know. It's like,

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Speaker 1: I love John Mayr. He's so amazing. And John Mayer's like, hey,

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Speaker 1: you want to use any of my guitars, you know,

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Speaker 1: feel free just come in and help yourself, you know.

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Speaker 1: And the whole sessions ended up being like that, to

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Speaker 1: the point where Fario, who runs the studio, is like

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Speaker 1: being my husband. We love her. If she ever need

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Speaker 1: to spend time in l A, she can stay at

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Speaker 1: our house. Everyone had met her, just felling up us girl.

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Speaker 1: So it all felt very natural. Even though Daniel spent

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Speaker 1: a bit more than he wanted to, it all felt

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Speaker 1: really natural. Okay, so now the record is done in

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Speaker 1: a completely changed world. What are the next steps? How

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Speaker 1: do you make people aware of her? How do you

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Speaker 1: grow her career? This? You know this, this used to

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Speaker 1: be when I was a kid, This is this was

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Speaker 1: the job. How do you find a new artist and

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Speaker 1: how do you break them? And times have changed over

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Speaker 1: thirty years or so since I've been doing this. It's

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Speaker 1: no longer the same as the hustle is different. Everything

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Speaker 1: is different. She's got to find friends at DSPs. We

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Speaker 1: gotta literally old school and get her in a car

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Speaker 1: and drive around and go and do little sessions and

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Speaker 1: go on do you know whatever radio that we can

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Speaker 1: get her into, just to try and get some music

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Speaker 1: out there, start working on social presence and do some videos,

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Speaker 1: just real least get content out there. We hope we'll

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Speaker 1: get some support from not only YouTube, but Apple and Spotify, Amazon,

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Speaker 1: just to stead of giving a little poosh, give a

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Speaker 1: little profile, get her own some appropriate playlists. You know,

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Speaker 1: it's not country. She's from Nashville, but it's not country.

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Speaker 1: You know, it's it's got a real modern feel to it.

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Speaker 1: But she could you know, she's so influenced by people

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Speaker 1: like Steve Nicks and Fluwood, Macs of the world, and

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Speaker 1: it's got that a bit of that flavor. This record

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Speaker 1: could have been made in n Yeah, yeah, yeah. You

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Speaker 1: can tell the technology that's in there that it's made today.

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Speaker 1: So as you say, you know, the business really changed

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Speaker 1: in this century with the advent of the Internet. Give

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Speaker 1: me the hierarchy of and this includes both old acts

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Speaker 1: and brand new acts, and they may not be identical.

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Speaker 1: What has the most power and exposing an act the

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Speaker 1: most power and exposing an act if you and again

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Speaker 1: as you said, whether you're a brand new office or

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Speaker 1: you're the most established office, most successful artist, what has

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Speaker 1: the most power? I think it changes was genre, Bob,

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Speaker 1: And you know this. You've been a music fan, you know,

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Speaker 1: your entire life. And when when you think when you

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Speaker 1: were fifteen years old to twenty years old, you loved

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Speaker 1: whatever was popular. Whoever that was, was the Stones and

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Speaker 1: the Beatles, and who was it Led zeppel In, the

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Speaker 1: Symphonies or whatever it was. The biggest music throughout every

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Speaker 1: era has been pop music, same as today. You know,

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Speaker 1: the most of the biggest consumers of teenagers and young people,

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Speaker 1: they're the ones who consume all the Drake or Kanye

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Speaker 1: or Taylor Swift or or you know anything that's huge.

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Speaker 1: It just they just need to put a song out

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Speaker 1: and it goes. It just goes. It's got a life

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Speaker 1: of its own. As soon as they drop. They tell

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Speaker 1: everyone on social media, you track dropping today, and it

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Speaker 1: just goes. They have their own legs. But then that's

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Speaker 1: pop music throughout the ages. You know, everyone would wait

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Speaker 1: for the new big thing. And again it could have

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Speaker 1: been anything through any era pop music because its always

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Speaker 1: been the biggest music. It's probably consumed ninety plus percent

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Speaker 1: of the world's music market, pretty similar today. So to

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Speaker 1: put an artice who isn't in that genre, they could

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Speaker 1: be a rock band, they could be sort of a

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Speaker 1: more independent type, you know, avant garde style band or

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Speaker 1: or singer. Um. They don't have the mass consumption that

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Speaker 1: pop music has. We still need to support of the

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Speaker 1: Amazon's Spotify is all the DSPs, But that's not answering

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Speaker 1: your questions, like is there one thing. I don't think

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Speaker 1: there is one thing. It seems to be the sum

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Speaker 1: of a thousand different small things that only to be

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Speaker 1: happening at the same time. But more importantly than that,

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Speaker 1: it's like when you're socializing with friends, family, or having

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Speaker 1: a cup of coffee with someone just catching up, you'll

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Speaker 1: talk about things like great movie, you've just seen a

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Speaker 1: great series, and you know what, what have you been

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Speaker 1: listening to? Uh? What book of you just youve got

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Speaker 1: to read this book. It's amazing. The word of mouth

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Speaker 1: is so important. And what I find is with every artist,

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Speaker 1: I work with because I don't really work with the

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Speaker 1: young pop artists, the artists that I wish I worked

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Speaker 1: with a Taylor Swift or a Drake or you know

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Speaker 1: one of those arts where you just drop Beyonce, that

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Speaker 1: you drop a song and it just goes boom and

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Speaker 1: that's the job is done. But I don't work with

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Speaker 1: anyone like that. So it's how do you get in

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Speaker 1: the conversation? You know, I find that's the most important

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Speaker 1: thing because if you're you know, you're sitting having sort

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Speaker 1: of lunch with three or four friends, and if you're

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Speaker 1: in that conversation, did you see the new video by whoever?

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Speaker 1: Did you hear that new song? It's incredible? Or did

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Speaker 1: you see something that they did whatever was creative and marketing,

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Speaker 1: the visual, the artwork, Oh the artwork was done by Stone,

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Speaker 1: So isn't that amazing? How did that happen? How do

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Speaker 1: you get in the conversation, whatever way in you're gonna take,

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Speaker 1: you have to be in the conversation with the brand

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Speaker 1: new act. What is it like with your interaction with

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Speaker 1: the DSPs? What are you looking for from them? What

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Speaker 1: do you want in a perfect world? Well, you know what,

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Speaker 1: I think all of the DSPs, it's like the old

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Speaker 1: kidney candy store analogy. You know you love candy, you

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Speaker 1: walk in the candy store, you have no idea what

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Speaker 1: you want to have, and DSPs feel like that. For

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Speaker 1: most people. You're very different and very different. I know

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Speaker 1: exactly what I wanted to want to go in there.

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Speaker 1: Most of the time, it's still good to find things

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Speaker 1: on curative playlists that you may not have known but

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Speaker 1: you actually like, and it's been a great way to discover.

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Speaker 1: I think most people are still of the playlist mentality.

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Speaker 1: You know, they're like a genre music, so they're quite

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Speaker 1: happy to listen to playlists that features that genre, whatever

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Speaker 1: that genre happens to be. So I think for new

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Speaker 1: artists the playlist concept is so vital. It's a great

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Speaker 1: way to introduce someone who's never going to go in

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Speaker 1: that store and choose your song. You've got to present

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Speaker 1: it to. Okay, let's go a little bit deeper in

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Speaker 1: the weeds. You're talking to one of these uh streaming companies.

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Speaker 1: How hard is it to get on a playlist? How

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Speaker 1: many playlists will they put you on? And then there's

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Speaker 1: issues of you know, save rates, tell us you know

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Speaker 1: how you get to the point where you have some traction.

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Speaker 1: This is where it becomes a global issue because you know,

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Speaker 1: the great playlists in France or Germany, or Italy or

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Speaker 1: Sweden or Australia very different to what they are in

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Speaker 1: the UK or the US. Every country is that localized.

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Speaker 1: Don't one the playlists. So it ends up being a

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Speaker 1: task that you got to go around the world exactly

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Speaker 1: excuse me as we're doing now on Zoom. You know,

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Speaker 1: we do constantly we're on zooms with territory of the

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Speaker 1: territory of the territory and trying to find out what

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Speaker 1: they need to do, what they you know, to in

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Speaker 1: order to achieve set up in these art results. A

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Speaker 1: lot of times they may want to bring us in

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Speaker 1: from management on a call with a Spotify or an

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Speaker 1: Apple or whoever happens to be or a Deezer, and

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Speaker 1: you know, all all these companies, and it's trying to

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Speaker 1: find your friends, find people who actually believe in the artist.

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Speaker 1: Then they want to help. It's it's it's it's like

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Speaker 1: you're doing the sales pitch. And for the most part,

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Speaker 1: you know, we have a lot of friends now in

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Speaker 1: these companies and we can go to these friends and

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Speaker 1: try and ask them for support because they know we're established.

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Speaker 1: What we have is legitimate. We're not coming in cold,

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Speaker 1: We're coming in with a track record, and we sort

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Speaker 1: of not asking for the world. We'll try and isolate

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Speaker 1: where we want to be. Can we can you please

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Speaker 1: just try and get us on this. We know we're

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Speaker 1: not going to get music Friday on Spotify for example.

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Speaker 1: You know that may be further down the line, but

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Speaker 1: initially it's like, let's see where we need to place

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Speaker 1: this artist. Let's isolate the key playlist that we feel

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Speaker 1: would be appropriate. Then we've got to try and get

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Speaker 1: on them. Some of those playlists are curated by the company.

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Speaker 1: Some of those playlists are curated by individuals you know,

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Speaker 1: And then that's where you need to label help because

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Speaker 1: a lot of the time they know a lot of

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Speaker 1: these people because they've solicited music to them before, and

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Speaker 1: maybe they have a track record with those people. It's

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Speaker 1: it's the workload, I think for a manager. And you'll

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Speaker 1: probably hear this from a lower manager of friends of

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Speaker 1: yours or people you talk to the workload from saying

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Speaker 1: when I was a kid working for managers versus what

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Speaker 1: managers have to do now two different jobs. Two different jobs.

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Speaker 1: You can never I don't think you can never achieve

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Speaker 1: if you've got a checklist of everything you have to achieve.

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Speaker 1: If you're releasing a record, you can never do. By

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Speaker 1: the time the records are the job doesn't end. Okay.

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Speaker 1: These streaming services provide a lot of artists data. So

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Speaker 1: to what degree do you look at that data and

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Speaker 1: does it affect your game? I think that depends on

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Speaker 1: the size of the office. I find that really really

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Speaker 1: useful with the larger office because you can focus on

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Speaker 1: certain areas um and then the areas where nothing's happening.

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Speaker 1: You know. Okay, we've got to put a bit of

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Speaker 1: weight over here for a young artists. And it's someone

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Speaker 1: like we're talking about Cecilia, who hasn't put a record out,

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Speaker 1: so there's zero data on her. So I think it's

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Speaker 1: just going to be interesting and how we act on

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Speaker 1: as two different you know another thing. You know, you

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Speaker 1: get the data, what do we do with that data?

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Speaker 1: You know, we just want to see, Oh, is there

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Speaker 1: people you know, as the New York there's graviting towards

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Speaker 1: her but nowhere else or is it just the coast,

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Speaker 1: or is it maybe in the in the South. Maybe

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Speaker 1: it's just naturally if everything, so, it's going to be

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Speaker 1: really interesting to see what comes back. Then at that point,

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Speaker 1: we still know what kind of office we have or

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Speaker 1: where people are. You know, is she being played on

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Speaker 1: rock and alternative or should be being played on sort

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Speaker 1: of you know, more sort of the middle of the

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Speaker 1: road type stations or is it she going to get

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Speaker 1: in some country stations? And maybe the cover song. We

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Speaker 1: have no idea how this is going to pick up.

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Speaker 1: So that's where the data is interesting because it sort

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Speaker 1: of tells you where you are and where you've got

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Speaker 1: to focus. Um, you know, if we get the heat map,

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Speaker 1: you know, and terrist, she's not just in the US,

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Speaker 1: but around the world, you know, because these things can break.

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Speaker 1: Oh this thing is breaking out of France. Well, how

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Speaker 1: did that happen? Then you gotta figure out how it happened,

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Speaker 1: and then you gotta go there and you've gotta chase

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Speaker 1: that one. And if it breaks in one place, you know,

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Speaker 1: you can mirror it elsewhere, you know, And that's kind

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Speaker 1: of again. I never thought I would get into trying

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Speaker 1: to break a brand new artists from zero again until

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Speaker 1: I heard this music. But you I'm a music fan,

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Speaker 1: heard the music, so this isn't a way to make

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Speaker 1: a living, you know. So we're definitely not doing it

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Speaker 1: to every quick you know. And I say, it's coming

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Speaker 1: back to why are we doing this in the first place?

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Speaker 1: Because the music is great. She's legitimate, she's the real deal,

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Speaker 1: she's a real artist. She didn't just write a one

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Speaker 1: off pop song that we think we can chase and

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Speaker 1: make a hit, you know. So it's trying to remind yourselves.

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Speaker 1: Are people that work with me, we're all music fans,

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Speaker 1: as like, why are we doing this? Let's do with this.

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Speaker 1: We're not going to earn a penny for years, if

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Speaker 1: we ever earned anything, but it's the right thing to do.

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Speaker 1: In these various as of the stool. How important is

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Speaker 1: television today? Into what degree do you put attention in

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Speaker 1: that area? We keep analyzing that and discussing that internally. Um,

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Speaker 1: during the late nights, you know, all of the late nights,

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Speaker 1: without even naming any of them, they're all good fun,

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Speaker 1: they're great. You really don't get much from them with

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Speaker 1: your music unless you're doing something there's some kind of

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Speaker 1: gimmick production gimmick you know, or your your you know,

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Speaker 1: the artist has created something where it may go viral

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Speaker 1: and it lives online after the performance. But the actual

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Speaker 1: sort of look at their ratings on all these shows,

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Speaker 1: who watches them? Are they? You know? How real are

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Speaker 1: those ratings? Are people really watching to the last five

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Speaker 1: minutes of the show when an artist is going to

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Speaker 1: put a song on. I don't know about that. I

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Speaker 1: really don't know. He used to be such an important tool.

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Speaker 1: Now I think it's one of those things unless you

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Speaker 1: can make it viral, unless you can create something that's

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Speaker 1: a little different and again create a talking point where

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Speaker 1: we sto down, we have a coffee, they're like, oh,

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Speaker 1: did you see your selling so on Jimmy fallon last night?

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Speaker 1: You know, I see, You've gotta watch it because this happened.

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Speaker 1: Then you go online and you'll look it up, and

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Speaker 1: you will you'll take a look. That's the only way

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Speaker 1: that sort are really resonating, or if there's some kind

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Speaker 1: of stunt value to it. UM Saturday Night Live seems

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Speaker 1: to be the one that still really really need something.

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Speaker 1: UM that shows so many highs and lows over the

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Speaker 1: past most been on for five years, has been on there.

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Speaker 1: You know, so many highs and lows. At some point

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Speaker 1: everyone thought, but this is the show is gonna end.

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Speaker 1: It's not going to be relevant anymore. Then Boy comes

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Speaker 1: back on the newcast and it's on top again. That

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Speaker 1: show is still absolutely resonating. That's the one that everyone

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Speaker 1: wants to try and get on, you know, but that

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Speaker 1: they are always smart with what they book, unless there's

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Speaker 1: someone who drops out last minute because of COVID, you know,

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Speaker 1: which has been happening lately. You know, they're not getting

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Speaker 1: the artists that they wanted. They had someone book for

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Speaker 1: models and then they drop um. So that one still

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Speaker 1: really really means something um. But then you go internationally,

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Speaker 1: what else means something? Not a lot of the TV

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Speaker 1: none of it really means what it used to mean

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Speaker 1: unless you can make it something making something special. So

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Speaker 1: what I'm finding is like with the bigger artists, you

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Speaker 1: need to try and come up with something that's almost

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Speaker 1: like an artist special. Can you make something that's just

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Speaker 1: different from the norm. Can you make something that's artists

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Speaker 1: in conversation with someone you know, like try and get

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Speaker 1: a BBC or an NBC or another network to get

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Speaker 1: them bored. And so you've given fans something a little

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Speaker 1: bit richer than just use one song from a new album.

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Speaker 1: Never gonna work. But yet it's still something you do

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Speaker 1: because you know, this is that they are of marketing.

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Speaker 1: If marketing is a science, you know, we don't know

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Speaker 1: how to do it when we throw everything at the wall. Okay,

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Speaker 1: we're going to do the cover of Billboards so that

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Speaker 1: the industry knows what we're doing. And we're gonna do,

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Speaker 1: you know, try and get the cover of Rolling Stone.

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Speaker 1: Doesn't really mean anything, but we're gonna do it anyway,

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Speaker 1: you know. And we're gonna do Jimmy Fallon and we're

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Speaker 1: gonna try and get set in that live. And we've

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Speaker 1: spent all this money in advertising and all the key

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Speaker 1: markets and stuff, and you started throwing everything at the

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Speaker 1: ball in the wall, and we've got all this social

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Speaker 1: stuff that's going on and everyone's doing the same thing,

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Speaker 1: you know, And again, how do you make it resonate?

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Speaker 1: How do you get in the conversation, because then it

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Speaker 1: becomes a little bit like wallpaper and this instead of

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Speaker 1: our daily task. How are we shaking this up? You know?

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Speaker 1: What is the next trend? You know, especially for a

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Speaker 1: lot of the acts that I work with, you know,

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Speaker 1: they're older, they're really established, they're really really successful, you know,

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Speaker 1: the biggest artists in their fielding, in their genre. You know.

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Speaker 1: Yet you can't take up a brand, so you can't

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Speaker 1: just drop a record like Beyonce it and you know

365
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Speaker 1: it's gonna go. It doesn't work like that, So you

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Speaker 1: have to be more creative, you know. Stuff found that

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Speaker 1: more and more my jobs. It's almost like, yes, you manage,

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Speaker 1: but it's more about marketing. How do you present these

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Speaker 1: artists to market? You know, And that's the toughest thing.

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Speaker 1: It's got to be right for them. It's got to

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Speaker 1: feel good, feel appropriate, connect with their audience. Um, and

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Speaker 1: it gets harder. Let's leave a side top forty radio

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Speaker 1: because you don't really have acts in those areas. Those

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Speaker 1: are the Beyonces, etcetera. And that's narrower than it's ever

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Speaker 1: been basically hip hop and pop. So the other types

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Speaker 1: of radio to what degree did they fit into your

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Speaker 1: plan and how effective are they in terms of getting

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Speaker 1: the message? I study use the same sort of analogy

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Speaker 1: very diod from marketing. It's important to have a presence

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Speaker 1: serious ex sam is probably the most important I feel,

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Speaker 1: you know, unless you're again on the top party radio,

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Speaker 1: then I how's your best friend? Um? But for us

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Speaker 1: is that I work with you know, serious is legitimate.

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Speaker 1: They have a real listenership, you know, and how they've

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Speaker 1: grown in the past fifteen years, you know, from a

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Speaker 1: few million subscribers to probably all closer to forty million

387
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Speaker 1: subscribers not um, I don't know the exact date on that,

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Speaker 1: but it's getting well. They announced thirty two and there's

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Speaker 1: six point six point five that are on free accounts,

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Speaker 1: so your number is pretty good. Okay, So yeah, you know,

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Speaker 1: I keep seeing it every sort of year where they're at,

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Speaker 1: and you just that they're going up. But it's that's

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Speaker 1: a lot of potential listeners more so than anything else. However,

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Speaker 1: you know those listeners is like, yeah, I only like

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Speaker 1: sixties or seventies radio, you know, or I only like country.

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Speaker 1: I only listen to Howard Stern. There's still a lot

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Speaker 1: of that. But they're really really good at what they do,

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Speaker 1: and you've got to think that whatever genre you're in,

399
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Speaker 1: you're gonna have a dedicated listenership, you know, because let's

400
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Speaker 1: face it, you know, like where can we're rock bands?

401
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Speaker 1: You know, alternative radio doesn't mean what it used to mean,

402
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Speaker 1: you know, gone on the days of the label spending

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Speaker 1: money hiring independent radio specialists to try and push your

404
00:20:53,280 --> 00:20:57,399
Speaker 1: music on specific formats. Yes, it still happens, but they

405
00:20:57,400 --> 00:20:59,359
Speaker 1: don't think they get the return anymore. You know, if

406
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Speaker 1: they get all there, the payback isn't what it used

407
00:21:02,040 --> 00:21:05,119
Speaker 1: to be. It doesn't move any you know, so that

408
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Speaker 1: is a challenge. Um. But yet, like when I look

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Speaker 1: at sort of a C radio or how a C

410
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Speaker 1: you look at the total listenership and it's so small.

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Speaker 1: It's important for artists to see that their music is

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Speaker 1: being played. So a lot of it is. And I

413
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Speaker 1: get this from big artists. How do I measure my

414
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Speaker 1: success today? I used to look at my success where

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Speaker 1: you know, whatever radio chart with a song in the

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Speaker 1: top five, my album went in in the top five. Oh,

417
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Speaker 1: my album's gone go no, no, my album's gone platinum.

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Speaker 1: That's how they used to measure their success. Oh, and

419
00:21:42,920 --> 00:21:44,800
Speaker 1: doing the two or thirty days and they've all sold that.

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Speaker 1: Artists feel successful today. They might still do the shows

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Speaker 1: that way, but then they see any we've got number

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Speaker 1: one record this week, and you you're very very aware

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Speaker 1: of this. Over the past few years, you know, we've

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Speaker 1: gone from bundling tickets with some authors, we've got really

425
00:22:02,480 --> 00:22:05,320
Speaker 1: big tours, you know. So you're buying the ticket and

426
00:22:05,359 --> 00:22:07,280
Speaker 1: it comes with the CD, and the CD goes out

427
00:22:07,320 --> 00:22:11,360
Speaker 1: an accounted for for a scam and that doesn't happen anymore.

428
00:22:11,880 --> 00:22:14,640
Speaker 1: So now everything changes to formats. How do we get

429
00:22:14,640 --> 00:22:18,119
Speaker 1: our hardcore fans two collected from formats and boost our

430
00:22:18,200 --> 00:22:21,960
Speaker 1: numbers first week? Um, So measuring off the success, which

431
00:22:22,200 --> 00:22:25,000
Speaker 1: you know, everyone I work with is like, well, what

432
00:22:25,040 --> 00:22:27,920
Speaker 1: does that mean? Yes, I got number one a week

433
00:22:28,000 --> 00:22:31,399
Speaker 1: two I was number thirty, you know, week three I

434
00:22:31,480 --> 00:22:34,560
Speaker 1: was number sixty three, whatever, So how do I measure

435
00:22:34,600 --> 00:22:37,640
Speaker 1: my success? And it's a really hard question to ask.

436
00:22:37,680 --> 00:22:41,520
Speaker 1: But in the advent of streaming the big artist that

437
00:22:41,680 --> 00:22:44,159
Speaker 1: I work with and we work with as a company,

438
00:22:44,640 --> 00:22:48,399
Speaker 1: you see a whole lift across the entire catalog, you know.

439
00:22:48,480 --> 00:22:50,920
Speaker 1: So that makes it even more complicated to measure success

440
00:22:51,240 --> 00:22:54,280
Speaker 1: unless you really get down to the analytics of exactly,

441
00:22:54,920 --> 00:22:57,040
Speaker 1: say what you were doing across the catalog to what

442
00:22:57,119 --> 00:22:59,480
Speaker 1: you did for the catalog over a very small window

443
00:22:59,520 --> 00:23:02,119
Speaker 1: of time, and what does that lift equate to, and

444
00:23:02,119 --> 00:23:04,080
Speaker 1: then trying to break it down financially is even more

445
00:23:04,119 --> 00:23:06,480
Speaker 1: complicated because then it goes down to the nature of

446
00:23:06,480 --> 00:23:11,040
Speaker 1: the artists deal. Um So, trying to measure success for

447
00:23:11,080 --> 00:23:13,240
Speaker 1: the biggest arts in the world has never been harder,

448
00:23:13,560 --> 00:23:18,120
Speaker 1: I don't think. But they will see the revenue eventually

449
00:23:18,160 --> 00:23:21,120
Speaker 1: flow through because of the increased across If you've got

450
00:23:21,560 --> 00:23:24,040
Speaker 1: twenty albums and your catalog and thirty albums your catalog,

451
00:23:24,359 --> 00:23:27,159
Speaker 1: you see movement across the whole thing. Not necessarily a

452
00:23:27,240 --> 00:23:30,840
Speaker 1: new record, but everything goes up. People are curious, Oh,

453
00:23:30,880 --> 00:23:32,480
Speaker 1: I like that record, I'm going to go back to

454
00:23:32,520 --> 00:23:37,240
Speaker 1: that one, not necessarily the new one. Um So I'm learning.

455
00:23:37,280 --> 00:23:39,320
Speaker 1: We're all learning. Just when you think you know your job,

456
00:23:39,359 --> 00:23:41,760
Speaker 1: you don't know your job. It's back to square one again.

457
00:23:41,800 --> 00:23:43,399
Speaker 1: How do we do this, How do we do better?

458
00:23:43,920 --> 00:23:45,960
Speaker 1: How do we service our artists? How do we make

459
00:23:46,000 --> 00:23:48,720
Speaker 1: them feel that it's not just about touring. Yes, touring

460
00:23:48,760 --> 00:23:52,040
Speaker 1: has never been better for certain artists, but that's not

461
00:23:52,119 --> 00:23:55,000
Speaker 1: what feats them. They like their shows, they're happy to

462
00:23:55,040 --> 00:23:57,120
Speaker 1: be paid well, but they still want to see their

463
00:23:57,240 --> 00:24:00,000
Speaker 1: art and their music becomes successful because that's why their artists,

464
00:24:00,800 --> 00:24:03,159
Speaker 1: you know, like working with all for example, he doesn't

465
00:24:03,160 --> 00:24:06,160
Speaker 1: stop h whites it all the time. He's never stopped

466
00:24:06,160 --> 00:24:10,399
Speaker 1: since years. Yeah, So it's he wants to know that

467
00:24:10,480 --> 00:24:13,280
Speaker 1: he's relevant. He's putting up music and there's an audience

468
00:24:13,280 --> 00:24:24,480
Speaker 1: that have music. Okay, so you mentioned the charts. Hey,

469
00:24:24,760 --> 00:24:28,439
Speaker 1: do you feel there's a significant chart in addition to

470
00:24:28,840 --> 00:24:32,640
Speaker 1: the Billboard Nielsen chart, and that chart, as you say,

471
00:24:32,720 --> 00:24:38,200
Speaker 1: number one, can be manipulated with games physical product In addition,

472
00:24:38,760 --> 00:24:43,879
Speaker 1: they meld physical and digital downloads along with streams and

473
00:24:43,960 --> 00:24:48,520
Speaker 1: now YouTube in a certain way. So, hey, to what

474
00:24:48,680 --> 00:24:52,200
Speaker 1: degree do you play the games because everybody else does

475
00:24:52,680 --> 00:24:55,200
Speaker 1: be would you be in favor of the game's going

476
00:24:55,280 --> 00:24:59,760
Speaker 1: away and see what is it like actually living in

477
00:24:59,800 --> 00:25:04,880
Speaker 1: the world? Okay, Um, I feel that I'm partly responsible

478
00:25:05,000 --> 00:25:11,439
Speaker 1: for creating the games. Um why the game's created? Um? Again,

479
00:25:11,480 --> 00:25:14,280
Speaker 1: going back to say what we're saying about pop artist

480
00:25:14,280 --> 00:25:19,600
Speaker 1: pop artists through history. If you're Beyonce, if you're Kendrick Lamar,

481
00:25:19,960 --> 00:25:23,879
Speaker 1: your Drake, you're Adele. Any of those artists drop a

482
00:25:23,920 --> 00:25:27,679
Speaker 1: song today, it's number one next week. They don't do anything,

483
00:25:28,280 --> 00:25:32,560
Speaker 1: no physical products. It's probably just there are people who

484
00:25:32,560 --> 00:25:36,440
Speaker 1: still digitally download the few that are there. It's still relevant,

485
00:25:37,200 --> 00:25:39,840
Speaker 1: but the rest of streaming those artis can just drop

486
00:25:39,880 --> 00:25:43,440
Speaker 1: the song in the system and boom. Yeah, it would

487
00:25:43,440 --> 00:25:45,240
Speaker 1: be a dream. I'd love to work with something like that,

488
00:25:45,400 --> 00:25:49,120
Speaker 1: but I don't um so in order to try and

489
00:25:49,200 --> 00:25:53,800
Speaker 1: get that chart, because again, let's face it, and you

490
00:25:53,880 --> 00:25:56,480
Speaker 1: probably have exact stats on this, I don't. Is it

491
00:25:56,840 --> 00:26:01,920
Speaker 1: something like the top three percent of all big artists

492
00:26:03,000 --> 00:26:07,080
Speaker 1: probably consume nine plus percent of all streaming. I don't

493
00:26:07,080 --> 00:26:09,720
Speaker 1: know the exact staff there. It's I don't know the

494
00:26:09,760 --> 00:26:12,720
Speaker 1: exact one, but it's not too far away from that.

495
00:26:13,520 --> 00:26:16,840
Speaker 1: And what that means is if you're not a pop

496
00:26:16,920 --> 00:26:22,959
Speaker 1: artist that has been consumed at insane rates by people

497
00:26:23,040 --> 00:26:25,600
Speaker 1: say between the ages of twelve and twenty five, and

498
00:26:25,600 --> 00:26:28,440
Speaker 1: and that's just a very random number. Those are people

499
00:26:28,440 --> 00:26:33,000
Speaker 1: with more disposable time, more downtime then say maybe their

500
00:26:33,080 --> 00:26:35,199
Speaker 1: parents who have good jobs and trying to sort of

501
00:26:35,600 --> 00:26:37,720
Speaker 1: run their lives. They don't have as much free time

502
00:26:38,040 --> 00:26:40,199
Speaker 1: as young people. Young people are free time. They can

503
00:26:40,240 --> 00:26:43,360
Speaker 1: consume that their friends, they share songs, they're online, they're

504
00:26:43,359 --> 00:26:45,880
Speaker 1: all chatting with each other, sharing music all the time,

505
00:26:45,920 --> 00:26:49,920
Speaker 1: and they're they're consuming a lot of music. They're not

506
00:26:50,000 --> 00:26:53,800
Speaker 1: doing that for more, shall we say, established artists, people

507
00:26:53,800 --> 00:26:56,399
Speaker 1: who have had more than five albums in their career.

508
00:26:56,760 --> 00:26:58,720
Speaker 1: As soon as they hit that thirty five to forty

509
00:26:58,800 --> 00:27:01,639
Speaker 1: five maybe plays a little different. They seem to be

510
00:27:01,680 --> 00:27:06,240
Speaker 1: breaking them old um. But most other artists aren't streaming

511
00:27:06,560 --> 00:27:09,720
Speaker 1: like they should. I would think most artists that I

512
00:27:09,800 --> 00:27:13,440
Speaker 1: work with, and let's make up a number. Let's say

513
00:27:14,320 --> 00:27:17,000
Speaker 1: for ch our purposes, they've got a hundred thousand albums

514
00:27:17,000 --> 00:27:19,679
Speaker 1: in the U S and week one, that's what the

515
00:27:19,680 --> 00:27:24,639
Speaker 1: sales equivalent would be. I think probably between three and

516
00:27:24,680 --> 00:27:30,080
Speaker 1: five on a good day would be streaming numbers. So

517
00:27:30,160 --> 00:27:36,880
Speaker 1: without having any kind of creative game plan, you're never

518
00:27:36,960 --> 00:27:40,240
Speaker 1: gonna get that hundred thousand target if that is what

519
00:27:40,320 --> 00:27:42,200
Speaker 1: it needed to be to be number one that week,

520
00:27:42,680 --> 00:27:45,400
Speaker 1: or even playing top five, You're never going to get

521
00:27:45,440 --> 00:27:48,879
Speaker 1: there without first having to say, Okay, how are we

522
00:27:48,920 --> 00:27:51,199
Speaker 1: going to break this down? You know, how are we

523
00:27:51,240 --> 00:27:52,639
Speaker 1: going to get to where we want to get to?

524
00:27:52,760 --> 00:27:54,480
Speaker 1: And then you have to find the path to get there,

525
00:27:55,520 --> 00:27:57,919
Speaker 1: and I've started become really really good at that with

526
00:27:58,040 --> 00:28:00,760
Speaker 1: everyone that I work with. You've got to try and

527
00:28:01,000 --> 00:28:03,600
Speaker 1: look after the fans. What do the fans want who,

528
00:28:03,640 --> 00:28:06,480
Speaker 1: at least hardcore base, what do they really really want

529
00:28:06,480 --> 00:28:08,159
Speaker 1: from this office, and then you've got to try and

530
00:28:08,200 --> 00:28:13,800
Speaker 1: feed them, knowing that your streaming numbers right now aren't

531
00:28:13,840 --> 00:28:16,240
Speaker 1: going to get you there alone, you know. So I

532
00:28:16,240 --> 00:28:20,680
Speaker 1: couldn't put a record up by and Paulay or s

533
00:28:21,080 --> 00:28:23,800
Speaker 1: Twain and just any of the albums up. We've got

534
00:28:23,800 --> 00:28:26,719
Speaker 1: a great final, We've got a great CD. You can

535
00:28:26,800 --> 00:28:29,959
Speaker 1: stream it on Apple and Spotify and Amazon, you know,

536
00:28:30,080 --> 00:28:33,159
Speaker 1: and it's just it would probably do a tenth of

537
00:28:33,280 --> 00:28:36,560
Speaker 1: what we've needed to do. Let's go to YouTube content.

538
00:28:37,200 --> 00:28:41,920
Speaker 1: To what degree is it necessary? And do you create

539
00:28:42,360 --> 00:28:46,440
Speaker 1: specific content for YouTube like videos? It used to be,

540
00:28:46,440 --> 00:28:49,560
Speaker 1: you know, you made a video for MTV. Now the

541
00:28:49,640 --> 00:28:53,160
Speaker 1: bigger acts make a video especially for YouTube. Maybe it

542
00:28:53,240 --> 00:28:56,280
Speaker 1: might be distributed elsewhere. Other acts do nothing and hope

543
00:28:56,320 --> 00:28:58,680
Speaker 1: for fan content or something that might be from a

544
00:28:58,760 --> 00:29:00,920
Speaker 1: late night shell. To what degree is that part of

545
00:29:00,920 --> 00:29:03,360
Speaker 1: the plan? And what do you do YouTube? I've found

546
00:29:03,520 --> 00:29:05,280
Speaker 1: at least for they are acts, I work with them

547
00:29:05,280 --> 00:29:09,640
Speaker 1: in such an important partner because they're willing to be creative,

548
00:29:10,040 --> 00:29:12,480
Speaker 1: they're willing to do things out the books, and they're

549
00:29:12,480 --> 00:29:15,640
Speaker 1: willing to assist you to fund it. A couple of

550
00:29:15,680 --> 00:29:20,160
Speaker 1: years ago, McConney released an album called Egypt Station and

551
00:29:20,240 --> 00:29:22,400
Speaker 1: that was the name of the album. So we're trying

552
00:29:22,440 --> 00:29:24,680
Speaker 1: to think, how do we launch this album, you know,

553
00:29:24,720 --> 00:29:26,680
Speaker 1: and we've done a bunch of great stunts over the

554
00:29:26,760 --> 00:29:29,000
Speaker 1: years with him. He's really open to doing things if

555
00:29:29,000 --> 00:29:33,600
Speaker 1: they're created. And we thought, we we've never done anything

556
00:29:34,160 --> 00:29:37,160
Speaker 1: in a station, So what about Grand Central Station probably

557
00:29:37,160 --> 00:29:41,640
Speaker 1: one of the most iconic training stations on the planet architecturally,

558
00:29:41,760 --> 00:29:43,840
Speaker 1: everyone knows it would be anywhere in the world. And

559
00:29:43,880 --> 00:29:47,160
Speaker 1: you say grind Central, they know it's New York. Why

560
00:29:47,160 --> 00:29:49,160
Speaker 1: don't we try and do the album comes out on Friday.

561
00:29:49,160 --> 00:29:52,160
Speaker 1: Why do we try and do the show just after

562
00:29:52,240 --> 00:29:55,200
Speaker 1: rush our sitting pm on a Friday night in Grand

563
00:29:55,240 --> 00:29:59,840
Speaker 1: Central Station, and let's film it, you know, because it's

564
00:29:59,840 --> 00:30:03,959
Speaker 1: a beautiful, beautiful room there. As architecturally, it's actually stunning.

565
00:30:04,760 --> 00:30:06,440
Speaker 1: Next time you in New York, if you haven't been there,

566
00:30:06,480 --> 00:30:11,080
Speaker 1: have a walk around. The building is unbelievably beautiful. So

567
00:30:11,120 --> 00:30:15,280
Speaker 1: we found this amazing room. We've got the permissions. New

568
00:30:15,360 --> 00:30:19,160
Speaker 1: York's very friendly. You know, three different police forces. You know,

569
00:30:19,160 --> 00:30:21,120
Speaker 1: you've got the Metro police for the station, You've got

570
00:30:21,200 --> 00:30:23,840
Speaker 1: state police, you've got a city police, got them all

571
00:30:23,920 --> 00:30:26,880
Speaker 1: talking in harmony. The Mayor's office gave his permits. It's

572
00:30:26,960 --> 00:30:29,640
Speaker 1: really strict. Everything about it was really strict, from the

573
00:30:29,680 --> 00:30:32,080
Speaker 1: minute you go in, the minute you get out what

574
00:30:32,200 --> 00:30:36,080
Speaker 1: you have to do. And YouTube came on board and

575
00:30:36,160 --> 00:30:40,240
Speaker 1: filmed this and we we filmed it in such a cinematic,

576
00:30:40,360 --> 00:30:44,680
Speaker 1: beautiful way the really creative director and we broadcast alive.

577
00:30:46,120 --> 00:30:49,720
Speaker 1: So those stunts are so few and far between, they

578
00:30:49,760 --> 00:30:53,360
Speaker 1: don't work for every artist, but it was such a

579
00:30:53,400 --> 00:30:59,600
Speaker 1: monumental event. That event was captured, it's still online. And

580
00:30:59,680 --> 00:31:03,240
Speaker 1: we we partnered. We did a fun partnership, say would

581
00:31:03,240 --> 00:31:07,680
Speaker 1: lift and on their maps because anyone wanted to the station,

582
00:31:07,840 --> 00:31:10,120
Speaker 1: they gave him a lift there for free, you know.

583
00:31:10,240 --> 00:31:11,880
Speaker 1: And they re branded the station on the maps and

584
00:31:11,960 --> 00:31:14,360
Speaker 1: Egypt Station for a night into Grand Central Away. So

585
00:31:14,520 --> 00:31:17,760
Speaker 1: we had a bunch of fun, gimmicky things. But but

586
00:31:17,800 --> 00:31:21,840
Speaker 1: the YouTube partnership was so vital there because we couldn't

587
00:31:21,840 --> 00:31:24,000
Speaker 1: have afforded to do it without them. You know, I

588
00:31:24,040 --> 00:31:26,160
Speaker 1: think they paid, you know, just over half of what

589
00:31:26,280 --> 00:31:28,479
Speaker 1: it costs and the rest we use from marketing budgets

590
00:31:28,480 --> 00:31:31,400
Speaker 1: from the label. But it was such a stunning event

591
00:31:31,840 --> 00:31:34,680
Speaker 1: and created a real moment and what we gained from

592
00:31:34,680 --> 00:31:39,400
Speaker 1: that media wise, especially in New York, the biggest selling market,

593
00:31:40,200 --> 00:31:42,880
Speaker 1: you know, or literally the state of New York is

594
00:31:42,880 --> 00:31:45,720
Speaker 1: where he sells more product than anywhere else, and you

595
00:31:45,760 --> 00:31:48,720
Speaker 1: get all the front page coverage from that, you know,

596
00:31:48,960 --> 00:31:52,360
Speaker 1: McCartney shuts down Rush Hour and things like this, and

597
00:31:53,000 --> 00:31:54,600
Speaker 1: but it was all because of YouTube. We could have

598
00:31:54,600 --> 00:31:57,800
Speaker 1: done it without. Then I go into Andrea but Chelly

599
00:31:58,280 --> 00:32:06,640
Speaker 1: and this is in April. It was Easter Day and

600
00:32:07,440 --> 00:32:10,480
Speaker 1: we went to This is actually one of my staff, Francesco.

601
00:32:10,520 --> 00:32:13,280
Speaker 1: We were in a team in Italy. He came up

602
00:32:13,280 --> 00:32:15,440
Speaker 1: with this idea and we all thought, yeah, that's kind

603
00:32:15,480 --> 00:32:18,960
Speaker 1: of a cool idea. It didn't set our worlds up

604
00:32:19,000 --> 00:32:21,120
Speaker 1: far and thinking like, yeah, cool, we should go with

605
00:32:21,120 --> 00:32:23,840
Speaker 1: it if it's you know, and his idea was on

606
00:32:23,920 --> 00:32:27,800
Speaker 1: Easter Day because everything was a lockdown. No one was

607
00:32:27,840 --> 00:32:31,360
Speaker 1: allowed other than the groceres or walking your dog or something.

608
00:32:32,200 --> 00:32:35,720
Speaker 1: We did this event at the Duomo Cathedral in the Lama.

609
00:32:37,240 --> 00:32:39,440
Speaker 1: We sold the idea to YouTube as and would you

610
00:32:39,520 --> 00:32:41,800
Speaker 1: like to help fund this and we're broadcast it live

611
00:32:43,520 --> 00:32:46,480
Speaker 1: um and it was just really under it in the cathedral.

612
00:32:48,000 --> 00:32:51,600
Speaker 1: You know, he sang a couple of songs and we

613
00:32:51,680 --> 00:32:54,480
Speaker 1: had to rehearse and walking out the cathedral because he's blind.

614
00:32:54,960 --> 00:32:57,920
Speaker 1: He walked all the way outside of the cathedral and

615
00:32:58,040 --> 00:33:00,680
Speaker 1: sang a song in the square at that's normally full

616
00:33:00,680 --> 00:33:03,160
Speaker 1: of tourists and full of people. There was a ghost

617
00:33:03,240 --> 00:33:07,040
Speaker 1: town and he sang a song with the cathedral as

618
00:33:07,080 --> 00:33:09,640
Speaker 1: the background. The weather was beautiful. We had a crew

619
00:33:09,680 --> 00:33:12,160
Speaker 1: of six people and a couple of staff, and there

620
00:33:12,320 --> 00:33:15,720
Speaker 1: his wife. There's no one there. It was all very

621
00:33:15,920 --> 00:33:19,240
Speaker 1: tied because of COVID pre the call, and that changed

622
00:33:19,280 --> 00:33:23,960
Speaker 1: the game completely because everywhere, I think we had something

623
00:33:24,000 --> 00:33:26,520
Speaker 1: crazy like three and a half to four million people

624
00:33:26,560 --> 00:33:30,680
Speaker 1: chewed in the live around the world. It became such

625
00:33:31,080 --> 00:33:35,120
Speaker 1: an event. We were thirty million the next day because

626
00:33:35,400 --> 00:33:37,520
Speaker 1: people would go back because the world them out. You've

627
00:33:37,520 --> 00:33:40,240
Speaker 1: got to see this, you know. And and that for

628
00:33:40,320 --> 00:33:42,600
Speaker 1: him was something that we thought would just be a

629
00:33:42,600 --> 00:33:45,400
Speaker 1: cool little thing for him to do, and he just

630
00:33:45,440 --> 00:33:47,680
Speaker 1: wanted to do it earthly and then turn it into

631
00:33:47,680 --> 00:33:51,480
Speaker 1: this global event. And again I think it was a

632
00:33:51,560 --> 00:33:54,000
Speaker 1: hundred and fifty thou dollars in costs for the film

633
00:33:54,080 --> 00:33:58,160
Speaker 1: crew and the satellite up link, a lot of money,

634
00:33:58,200 --> 00:33:59,680
Speaker 1: but not a lot of money in the grand scheme

635
00:33:59,680 --> 00:34:02,600
Speaker 1: of things, and that was such a game changer. And again,

636
00:34:03,320 --> 00:34:05,680
Speaker 1: and you know, I'm probably the best salesman right now,

637
00:34:05,720 --> 00:34:08,359
Speaker 1: but they thought, this is a great idea. We want

638
00:34:08,360 --> 00:34:12,759
Speaker 1: to support the artist. Let's do this. So going back

639
00:34:12,760 --> 00:34:15,560
Speaker 1: to your point though, artists doing videos for your YouTube,

640
00:34:16,000 --> 00:34:19,880
Speaker 1: I think to try and get an engagement, you know,

641
00:34:20,040 --> 00:34:22,520
Speaker 1: like YouTube are always willing to if you go to

642
00:34:22,560 --> 00:34:25,319
Speaker 1: them with an idea. Okay, we're gonna have this artist

643
00:34:25,400 --> 00:34:29,120
Speaker 1: of this group of this band sit down with this

644
00:34:29,200 --> 00:34:33,080
Speaker 1: actor and this other artists friends of theirs, and they're

645
00:34:33,120 --> 00:34:35,319
Speaker 1: going to talk about the new music and then all

646
00:34:35,360 --> 00:34:37,839
Speaker 1: of a sudden they're going to introduce a new video,

647
00:34:38,520 --> 00:34:41,840
Speaker 1: almost like a premier. YouTube are always game for any

648
00:34:42,000 --> 00:34:44,960
Speaker 1: cool ideas. I did one with Paul and Chris Rock.

649
00:34:45,080 --> 00:34:47,640
Speaker 1: They just chatted about music and it was over zoom

650
00:34:47,719 --> 00:34:50,680
Speaker 1: because it couldn't be in the same place YouTube. And yeah,

651
00:34:50,719 --> 00:34:53,040
Speaker 1: we'll do this, but not only will we do this,

652
00:34:53,960 --> 00:34:56,800
Speaker 1: we'll actually support this and we'll take our off side

653
00:34:56,840 --> 00:35:01,200
Speaker 1: billboards because like most companies, they book billboards around the world,

654
00:35:01,200 --> 00:35:03,560
Speaker 1: but they pretty much take on a twelve monthly basis,

655
00:35:04,000 --> 00:35:07,200
Speaker 1: and we will drive more traffic to this, so they

656
00:35:07,239 --> 00:35:10,440
Speaker 1: really get behind the artist. There's such an important partner,

657
00:35:10,840 --> 00:35:13,839
Speaker 1: but they're one of many really important partners and it's

658
00:35:13,880 --> 00:35:15,920
Speaker 1: just another piece of the puzzle. You've got to get

659
00:35:15,960 --> 00:35:19,239
Speaker 1: them on board, and you've got to be really, really creative.

660
00:35:19,680 --> 00:35:22,160
Speaker 1: What works for the fans, what works for the artists,

661
00:35:22,239 --> 00:35:24,359
Speaker 1: and also what works for the company. Can you get

662
00:35:24,400 --> 00:35:28,280
Speaker 1: all three right at the same time. Um, the biggest

663
00:35:28,320 --> 00:35:30,399
Speaker 1: issue with YouTube will always come back to, well, how

664
00:35:30,440 --> 00:35:34,239
Speaker 1: do they pay? You know. It's like like all of

665
00:35:34,280 --> 00:35:37,920
Speaker 1: these arguments you know, with Spotify or how are they paying?

666
00:35:37,960 --> 00:35:40,320
Speaker 1: You know? Is how they paying fair rates to the artists.

667
00:35:41,440 --> 00:35:44,520
Speaker 1: There's always that fine line between water is promo. If

668
00:35:44,520 --> 00:35:47,240
Speaker 1: you look at YouTube like we U see look at MTV,

669
00:35:47,719 --> 00:35:49,959
Speaker 1: We're not getting paid for that. They're playing our video

670
00:35:50,000 --> 00:35:53,200
Speaker 1: ten times a day. So it's that fine line between

671
00:35:53,280 --> 00:35:56,760
Speaker 1: ensuring the artist gets paid when music is being played

672
00:35:57,440 --> 00:36:00,440
Speaker 1: and also we need to promotional outlet because if we

673
00:36:00,440 --> 00:36:03,120
Speaker 1: have something that we feel is great that our fans love,

674
00:36:04,000 --> 00:36:07,200
Speaker 1: hopefully we can create that project. If YouTube is partnering

675
00:36:07,320 --> 00:36:11,719
Speaker 1: with you, do they still pay from view one or

676
00:36:11,760 --> 00:36:13,640
Speaker 1: do they say we invested all this money you want

677
00:36:13,640 --> 00:36:16,640
Speaker 1: to take it off top no, they still pay from Okay,

678
00:36:16,719 --> 00:36:19,720
Speaker 1: let's go to the other end of the spectrum, Cecilia.

679
00:36:20,000 --> 00:36:22,600
Speaker 1: You know, without you can talk about her specifically but

680
00:36:22,640 --> 00:36:25,879
Speaker 1: in general and act like that with much less visibility.

681
00:36:26,239 --> 00:36:32,439
Speaker 1: Will you create specific content to post on YouTube very

682
00:36:32,480 --> 00:36:35,360
Speaker 1: close to launch or even before I think so. I

683
00:36:35,360 --> 00:36:37,720
Speaker 1: think you have to try and get the autics personality across.

684
00:36:38,000 --> 00:36:40,879
Speaker 1: Maybe it's something conversation piece, maybe it's sort of playing acoustically.

685
00:36:41,280 --> 00:36:44,320
Speaker 1: We will create specific content that we will put on YouTube.

686
00:36:45,200 --> 00:36:47,680
Speaker 1: Her sitting in our bedroom. You know, there's nothing better.

687
00:36:47,719 --> 00:36:49,560
Speaker 1: At the amount of time she's a zoom and say, hey,

688
00:36:49,600 --> 00:36:51,000
Speaker 1: I want to play you this? What do you think

689
00:36:51,040 --> 00:36:54,200
Speaker 1: call it? And it's so fun when when that happens,

690
00:36:54,239 --> 00:36:56,680
Speaker 1: because no one else does that. Let's face it, you know,

691
00:36:56,760 --> 00:36:59,680
Speaker 1: the young artists who are not tainted with this industry,

692
00:37:00,080 --> 00:37:03,320
Speaker 1: not jaded in any way, Hey can you do the zoom?

693
00:37:03,320 --> 00:37:05,439
Speaker 1: And she'll just sit in her bedroom with a little

694
00:37:05,520 --> 00:37:09,040
Speaker 1: leftop there and taught herself how to record, and she

695
00:37:09,040 --> 00:37:11,440
Speaker 1: will just play a song and it's it's so effortless

696
00:37:11,480 --> 00:37:13,439
Speaker 1: and amazing. It's almost like we just put a little

697
00:37:13,440 --> 00:37:16,480
Speaker 1: camera crew in your bedroom with this little twin bed

698
00:37:16,480 --> 00:37:18,520
Speaker 1: and your little leftop on your desk and stuff and

699
00:37:18,600 --> 00:37:23,759
Speaker 1: just record you doing this. So absolutely because contents King,

700
00:37:24,120 --> 00:37:27,520
Speaker 1: how do you you know when someone discovers you discover anything,

701
00:37:27,840 --> 00:37:29,719
Speaker 1: you want to know more, Oh has that person done

702
00:37:29,760 --> 00:37:32,000
Speaker 1: anything else? And you go backwards what else have they done?

703
00:37:32,280 --> 00:37:35,240
Speaker 1: Kind of learn more. It's gonna be the same for anyone,

704
00:37:35,400 --> 00:37:38,239
Speaker 1: any new fan, anyone who's remotely interested. They want to

705
00:37:38,280 --> 00:37:41,040
Speaker 1: go digging, and if there's nothing there, you're not feeding them.

706
00:37:41,440 --> 00:37:42,920
Speaker 1: So we're going to try and feed them until we

707
00:37:43,000 --> 00:37:46,080
Speaker 1: put an album out. Then it comes to question, who

708
00:37:46,320 --> 00:37:48,160
Speaker 1: you know, if she puts an album mobile, I'll be

709
00:37:48,239 --> 00:37:51,439
Speaker 1: putting out physically. You know? Is there a marketing even

710
00:37:51,440 --> 00:37:54,279
Speaker 1: for vinyl as big as viol is Right now, we

711
00:37:54,400 --> 00:37:56,480
Speaker 1: kind of don't know what's what shape this is gonna

712
00:37:56,560 --> 00:37:59,640
Speaker 1: take until we start. It's kind of exciting, really, this

713
00:38:00,040 --> 00:38:02,800
Speaker 1: them is our hope or only hope for this album.

714
00:38:02,840 --> 00:38:05,520
Speaker 1: Even if we don't sell a lot of records, I

715
00:38:05,640 --> 00:38:08,000
Speaker 1: guarantee we're going to be in the year top ten lists.

716
00:38:08,840 --> 00:38:10,719
Speaker 1: That's where we're going to get with the record. Let's

717
00:38:10,719 --> 00:38:15,480
Speaker 1: go to TikTok. What do we know? The traditional music

718
00:38:15,520 --> 00:38:19,640
Speaker 1: infrastructure was blindsided by this. Then we had the incredible

719
00:38:19,680 --> 00:38:23,960
Speaker 1: success with the Cranberry Juice and Fleetwood Mac. You know,

720
00:38:24,200 --> 00:38:27,640
Speaker 1: it's not run like the other social platforms. You know,

721
00:38:27,719 --> 00:38:30,960
Speaker 1: the company invests and it allows you to not have

722
00:38:31,239 --> 00:38:34,000
Speaker 1: talking about as someone who's creating videos, not myself, but

723
00:38:34,040 --> 00:38:37,160
Speaker 1: a creator they might be able to get into in traction,

724
00:38:37,200 --> 00:38:40,120
Speaker 1: whereas on the other systems, if you haven't already made it,

725
00:38:40,440 --> 00:38:43,839
Speaker 1: you're really pushing the rock uphill. To what degree do

726
00:38:43,920 --> 00:38:48,680
Speaker 1: you interface with TikTok? Does it work or is it

727
00:38:48,760 --> 00:38:51,760
Speaker 1: really just about getting lucky that someone picks up yourself

728
00:38:52,400 --> 00:38:54,560
Speaker 1: and peels like it's really just about getting lucky? The

729
00:38:54,880 --> 00:38:59,480
Speaker 1: genuinely does. Like every other outlet, you have to address it.

730
00:38:59,560 --> 00:39:02,680
Speaker 1: You can. It's not an afterthought every call that we do.

731
00:39:02,800 --> 00:39:05,960
Speaker 1: What's our plan for YouTube? What's our plan for Spotify?

732
00:39:06,080 --> 00:39:08,960
Speaker 1: What's our plan for Apple? What's our plan for TikTok's

733
00:39:08,960 --> 00:39:13,000
Speaker 1: our plan for Amazon? Every single partner you have to address.

734
00:39:13,080 --> 00:39:15,040
Speaker 1: You have to give them time. You have to try

735
00:39:15,040 --> 00:39:18,480
Speaker 1: and get creative. What content can we put up there

736
00:39:18,880 --> 00:39:21,680
Speaker 1: that's not only going to connect with the artists fans?

737
00:39:21,960 --> 00:39:24,560
Speaker 1: How do we get new fans? How do you introduce

738
00:39:24,640 --> 00:39:27,080
Speaker 1: this new music to people who may I've never heard

739
00:39:27,080 --> 00:39:29,680
Speaker 1: of the artists a new artist, even as an older artist,

740
00:39:29,800 --> 00:39:31,799
Speaker 1: you know, like a new music out How do we

741
00:39:31,840 --> 00:39:36,120
Speaker 1: get this out there? Um? And by far no means

742
00:39:36,120 --> 00:39:41,480
Speaker 1: an expert on Spotify, on TikTok. Luckily I have younger staffs.

743
00:39:41,640 --> 00:39:46,240
Speaker 1: They're way more you know, well worse than I am. Um.

744
00:39:46,280 --> 00:39:48,919
Speaker 1: But it still feels like it's pot luck. It's about

745
00:39:49,000 --> 00:39:52,360
Speaker 1: music connecting with something a creator has done, you know,

746
00:39:52,560 --> 00:39:56,960
Speaker 1: or the artists does something that's really appropriate for that platform.

747
00:39:57,000 --> 00:40:01,799
Speaker 1: I haven't had anything big breakout of it. Had some

748
00:40:01,840 --> 00:40:04,560
Speaker 1: fun moments with it, but they never really turned into

749
00:40:04,600 --> 00:40:08,240
Speaker 1: anything tangible. But I've seen but I think it's something

750
00:40:08,280 --> 00:40:11,560
Speaker 1: that you need a presence. The view counts that you

751
00:40:11,600 --> 00:40:15,080
Speaker 1: get on some of these uh little pieces of content

752
00:40:15,160 --> 00:40:18,040
Speaker 1: that you post are insanely large, but I don't see

753
00:40:18,080 --> 00:40:21,319
Speaker 1: that translate off the platform. Okay, let's go to the road.

754
00:40:21,440 --> 00:40:23,920
Speaker 1: Let's talk with someone like Paul McCartney is essentially going

755
00:40:24,000 --> 00:40:27,880
Speaker 1: to sell out everywhere he plays. How do you decide

756
00:40:27,880 --> 00:40:34,280
Speaker 1: on frequency, location, building, ticket prices. Paul was always really, really,

757
00:40:34,760 --> 00:40:41,120
Speaker 1: really adamant, even with the new world of secondary ticket

758
00:40:41,160 --> 00:40:47,040
Speaker 1: things stub hubs and all those after market platforms where

759
00:40:47,040 --> 00:40:49,759
Speaker 1: people would sell the tickets for two or three, four

760
00:40:49,840 --> 00:40:53,280
Speaker 1: or five, ten times the cover price. Paul never wanted

761
00:40:53,320 --> 00:40:57,439
Speaker 1: to charge more than three dollars, even though he could

762
00:40:57,480 --> 00:41:01,280
Speaker 1: have this role and that is two thousand dollars whatever.

763
00:41:02,160 --> 00:41:05,560
Speaker 1: He always wanted to keep it tight, still does, still

764
00:41:05,600 --> 00:41:08,440
Speaker 1: having these conversations. Always make sure he's aware of how

765
00:41:08,520 --> 00:41:10,960
Speaker 1: things work, to make sure you knows what every other

766
00:41:10,960 --> 00:41:15,320
Speaker 1: office is doing. And at that point it's his choice. Um,

767
00:41:15,360 --> 00:41:18,400
Speaker 1: that's generally ticketing. So his grocers are always going to

768
00:41:18,440 --> 00:41:21,720
Speaker 1: be lower than what they could be because he doesn't

769
00:41:22,200 --> 00:41:25,360
Speaker 1: want to raise his prices. That's just the way is,

770
00:41:25,440 --> 00:41:28,680
Speaker 1: even though he knows that three ticket, so I'm gonna

771
00:41:28,680 --> 00:41:30,799
Speaker 1: buy for two and a half thousand dollars. Okay, how

772
00:41:30,800 --> 00:41:33,520
Speaker 1: do you decide how often on the market? Now? How

773
00:41:33,520 --> 00:41:36,040
Speaker 1: do you just decide forre you get to the yeah,

774
00:41:36,120 --> 00:41:40,120
Speaker 1: in terms of uh, if leaving COVID out of the picture,

775
00:41:40,400 --> 00:41:43,680
Speaker 1: let's really talk to paradigm before that. How much does

776
00:41:43,680 --> 00:41:46,200
Speaker 1: he want to work and how do you decide the

777
00:41:46,280 --> 00:41:49,000
Speaker 1: market and within a certain country where to play and

778
00:41:49,040 --> 00:41:52,920
Speaker 1: what size buildings. Let me give you an example saying

779
00:41:53,080 --> 00:41:57,400
Speaker 1: in the US, probably easiest one to do um Pose

780
00:41:57,719 --> 00:42:01,239
Speaker 1: agent and co promoters a gentleman named Aarry Marshall who

781
00:42:01,280 --> 00:42:05,120
Speaker 1: has worked with Paul for decades. One of the best

782
00:42:05,120 --> 00:42:08,000
Speaker 1: I've ever worked with, learned so much from He's such

783
00:42:08,040 --> 00:42:12,080
Speaker 1: a mentor, such a you know, fountain of knowledge. And

784
00:42:12,080 --> 00:42:14,360
Speaker 1: if you ever go to Barry's office, which is in London,

785
00:42:14,760 --> 00:42:18,040
Speaker 1: he's a map of the world, big map of the

786
00:42:18,080 --> 00:42:22,760
Speaker 1: world on a really big wall and there's little color

787
00:42:22,800 --> 00:42:27,960
Speaker 1: coordinated pins on this map and each pin will signal

788
00:42:28,160 --> 00:42:32,560
Speaker 1: signify a year and the tour, so you can see, okay,

789
00:42:32,640 --> 00:42:34,960
Speaker 1: how many times has he been here, how intends to

790
00:42:35,000 --> 00:42:37,200
Speaker 1: be there? And that's what it ends up doing, is

791
00:42:37,320 --> 00:42:39,520
Speaker 1: where has he never been? So you find out all

792
00:42:39,520 --> 00:42:43,600
Speaker 1: these markets where he has never been, and he always

793
00:42:43,640 --> 00:42:45,839
Speaker 1: wants to go to these places. Even though with Paul,

794
00:42:45,960 --> 00:42:49,200
Speaker 1: if he doesn't run a dates, let's say shows in

795
00:42:49,239 --> 00:42:52,600
Speaker 1: the US, he could just do major markets, but he

796
00:42:52,600 --> 00:42:54,560
Speaker 1: could do major markets every two or three years if

797
00:42:54,600 --> 00:42:57,920
Speaker 1: he wanted to, or every year even but he doesn't.

798
00:42:58,040 --> 00:43:01,480
Speaker 1: He wants to go places where he has been just

799
00:43:01,640 --> 00:43:04,520
Speaker 1: adding to the fact that he will have played most

800
00:43:04,560 --> 00:43:08,080
Speaker 1: places and he was always into trying to do if

801
00:43:08,080 --> 00:43:10,399
Speaker 1: you went to a major market let's say New York,

802
00:43:11,360 --> 00:43:13,280
Speaker 1: I'm going to play in the Garden a few nights,

803
00:43:13,760 --> 00:43:16,640
Speaker 1: then maybe go across across the river to the Barkley

804
00:43:16,680 --> 00:43:18,880
Speaker 1: Center for a couple of nights. Maybe go over to

805
00:43:19,080 --> 00:43:21,239
Speaker 1: New Jersey for a couple of nights. I'm covering the

806
00:43:21,280 --> 00:43:24,319
Speaker 1: Try State area. Then maybe next time I'm go and

807
00:43:24,320 --> 00:43:27,440
Speaker 1: play Met Life. You know, so never wants to just

808
00:43:27,560 --> 00:43:31,240
Speaker 1: repeat MetLife, Met Life, MetLife Yankee Stadium, Met Life Yankee

809
00:43:31,239 --> 00:43:35,800
Speaker 1: Stadium sometimes wants to keep it smaller and more intimate,

810
00:43:35,960 --> 00:43:37,920
Speaker 1: mix it up for fans so they're not just getting

811
00:43:37,960 --> 00:43:42,000
Speaker 1: the same thing every time. Same In Los Angeles, you know,

812
00:43:42,080 --> 00:43:44,279
Speaker 1: maybe okay, maybe we're gonna play the Forum, or we're

813
00:43:44,320 --> 00:43:46,960
Speaker 1: gonna play Staples Center or Hollywood Bowl, and maybe we're

814
00:43:46,960 --> 00:43:50,520
Speaker 1: gonna do like Dodger Stadium. You know. So it's always

815
00:43:50,560 --> 00:43:54,319
Speaker 1: tries to mix it up. Um and then with the

816
00:43:54,360 --> 00:43:57,080
Speaker 1: rest of the world, it's like, okay, you know, he

817
00:43:57,120 --> 00:44:00,239
Speaker 1: hadn't really done South America. The Beetles never did South America.

818
00:44:01,080 --> 00:44:03,560
Speaker 1: So then we said, okay, let's start with Mexico, and

819
00:44:03,640 --> 00:44:06,439
Speaker 1: we did a whole bunch of shows in Mexico, played

820
00:44:06,440 --> 00:44:09,520
Speaker 1: the Aztecs Stadium in Mexico City who played Zokolo Square

821
00:44:09,560 --> 00:44:13,000
Speaker 1: for a free show for two children, fifty people, you know.

822
00:44:13,239 --> 00:44:15,840
Speaker 1: And there's another place called Fotosaul, which is like the

823
00:44:15,840 --> 00:44:19,240
Speaker 1: baseball stadium, you know. So okay, we're doing all these venues,

824
00:44:19,280 --> 00:44:23,520
Speaker 1: and we've done the arenas, so you covered that one. Wherever.

825
00:44:23,560 --> 00:44:26,760
Speaker 1: Never been never in a Paraguay, never been to Uruguay,

826
00:44:27,200 --> 00:44:29,960
Speaker 1: you know, and never be in the Chile never you know,

827
00:44:30,160 --> 00:44:32,200
Speaker 1: never been to Peru. When we started going around all

828
00:44:32,239 --> 00:44:34,880
Speaker 1: of these places, and I remember going with him to

829
00:44:35,600 --> 00:44:40,000
Speaker 1: a sun shone in Paraguay. Flying in, I can't even

830
00:44:40,040 --> 00:44:42,840
Speaker 1: see a city. I always see his jungle and like,

831
00:44:42,920 --> 00:44:45,520
Speaker 1: who is going to come and see him play in

832
00:44:45,640 --> 00:44:49,279
Speaker 1: this city? And you get there and you're really in

833
00:44:49,320 --> 00:44:52,480
Speaker 1: the you feel I really feel like I'm in remote

834
00:44:52,480 --> 00:44:56,040
Speaker 1: part of the planet, never mind in this country itself.

835
00:44:56,840 --> 00:45:00,440
Speaker 1: Then we go to this rookiey old football stadium and

836
00:45:00,640 --> 00:45:03,960
Speaker 1: thirty five thousand people show up, and it's like, where

837
00:45:04,000 --> 00:45:08,440
Speaker 1: did these people come from? How did they know him?

838
00:45:08,560 --> 00:45:11,160
Speaker 1: How can they afford the ticket? Doesn't look like a

839
00:45:11,160 --> 00:45:17,200
Speaker 1: wealthy country. Um, And we sell out and it's amazing.

840
00:45:17,400 --> 00:45:20,680
Speaker 1: It never ever ever ceases to amaze me how things

841
00:45:20,680 --> 00:45:24,040
Speaker 1: are that can happen. It's magical. And one thing that

842
00:45:24,080 --> 00:45:27,240
Speaker 1: Paul when we're speaking last week, he he he always

843
00:45:27,239 --> 00:45:29,839
Speaker 1: talks about this. He's going, you know, I'm hanging out

844
00:45:29,840 --> 00:45:32,480
Speaker 1: with friends or bump into someone they like, hey, what

845
00:45:32,560 --> 00:45:34,440
Speaker 1: are you up to? You know you're still playing these days.

846
00:45:34,680 --> 00:45:38,160
Speaker 1: He's going, people have no idea what goes on another

847
00:45:38,200 --> 00:45:40,600
Speaker 1: parts of the world, you know, and we've got to

848
00:45:41,000 --> 00:45:43,960
Speaker 1: remind them. We gotta do something with that. Because when

849
00:45:44,000 --> 00:45:47,799
Speaker 1: he's in Mexico, he's in Argentina, all those places, it's

850
00:45:47,800 --> 00:45:51,640
Speaker 1: still beatle Mania. Thousands of fans outside of that town

851
00:45:51,920 --> 00:45:55,880
Speaker 1: all night, singing Beatles songs with their flags and there

852
00:45:56,440 --> 00:45:59,200
Speaker 1: whatever they've painted on them. And when he tries to

853
00:45:59,239 --> 00:46:01,239
Speaker 1: get out of the hotel, more often than not, same

854
00:46:01,280 --> 00:46:03,799
Speaker 1: in Japan, he's got to go out from underneath the

855
00:46:03,840 --> 00:46:07,120
Speaker 1: service entrance. You can go out the front door. It's

856
00:46:07,520 --> 00:46:10,960
Speaker 1: kind of next level craziness. Yeah, And the rest of

857
00:46:10,960 --> 00:46:13,080
Speaker 1: the world is all very civilized, it's all very polite,

858
00:46:13,719 --> 00:46:15,959
Speaker 1: and he's like, it's kind of he says, that still

859
00:46:15,960 --> 00:46:18,840
Speaker 1: blows my mind that no one has any idea. You know,

860
00:46:18,880 --> 00:46:21,279
Speaker 1: we just played three nights that were played stadium. We

861
00:46:21,360 --> 00:46:23,640
Speaker 1: played two d and ten thousand people. It's beat on

862
00:46:23,719 --> 00:46:28,040
Speaker 1: many of their Nobody knos you know, so we have

863
00:46:28,480 --> 00:46:31,600
Speaker 1: we're talking about it. How do we pull something together,

864
00:46:32,320 --> 00:46:34,360
Speaker 1: you know in the future. You know, it's like, but

865
00:46:34,440 --> 00:46:37,320
Speaker 1: there's a little mini dark or something. Because we film everything.

866
00:46:37,320 --> 00:46:39,240
Speaker 1: You film all the shows, We record all the shows

867
00:46:39,400 --> 00:46:42,920
Speaker 1: with a bureau team were still photographers. We document all

868
00:46:42,960 --> 00:46:47,120
Speaker 1: of this. Um So at some point hopefully we can

869
00:46:47,160 --> 00:46:49,960
Speaker 1: do something and people are, oh, that was happening, that's

870
00:46:50,000 --> 00:46:54,200
Speaker 1: still happens. Um So it's pretty funny. Just that's one

871
00:46:54,280 --> 00:46:57,239
Speaker 1: artist perspective and can look at Andrea Butchelli. No one

872
00:46:57,560 --> 00:47:00,520
Speaker 1: talks twice about Andrea but Chelly that often. He's one

873
00:47:00,520 --> 00:47:02,840
Speaker 1: of the highest box office grossing stuffles on the planet.

874
00:47:03,160 --> 00:47:06,480
Speaker 1: Certainly in the US. Nobody knows. You know. You can

875
00:47:06,480 --> 00:47:09,000
Speaker 1: go down in Brazil and he's playing multiple nights and

876
00:47:09,000 --> 00:47:12,279
Speaker 1: football stadiums, nobody knows, you know. So this is sort

877
00:47:12,280 --> 00:47:15,640
Speaker 1: of off. His careers, you know, are so different, so

878
00:47:15,760 --> 00:47:19,400
Speaker 1: diverse across the world. And how you get that to

879
00:47:19,480 --> 00:47:22,480
Speaker 1: connect so that everyone is aware all over the world

880
00:47:22,760 --> 00:47:32,719
Speaker 1: is something I haven't managed to crack yet. Let's stay

881
00:47:32,760 --> 00:47:35,280
Speaker 1: with the Curdy for a minute. At this late date,

882
00:47:37,040 --> 00:47:40,880
Speaker 1: what does he want? Also, he has a reputation for

883
00:47:40,920 --> 00:47:43,840
Speaker 1: being a student of the game. There's certain artists that do,

884
00:47:43,920 --> 00:47:46,440
Speaker 1: like Elton John whatever, and the other artists are oblivious.

885
00:47:46,480 --> 00:47:48,439
Speaker 1: Just point me in the right direction and I'll do it.

886
00:47:49,120 --> 00:47:53,920
Speaker 1: So to what degree is he involved in strategizing, knowing

887
00:47:53,960 --> 00:47:58,000
Speaker 1: the numbers, etcetera. And what is he actually looking for

888
00:47:58,200 --> 00:48:02,080
Speaker 1: at this late date. Papaul is a master of his craft,

889
00:48:02,239 --> 00:48:05,440
Speaker 1: There's no doubt about it. No one has a career

890
00:48:06,719 --> 00:48:11,719
Speaker 1: this long, this successful without really being on top of

891
00:48:11,760 --> 00:48:14,600
Speaker 1: it and driving it. You can help artist careers to

892
00:48:14,680 --> 00:48:17,520
Speaker 1: a point, but if they're not the driver, it wouldn't

893
00:48:17,560 --> 00:48:22,160
Speaker 1: last as long. Um. I think I've learned more about

894
00:48:22,160 --> 00:48:24,239
Speaker 1: my job through working with him than I have done

895
00:48:24,400 --> 00:48:26,960
Speaker 1: through working with anyone else. It made me better at

896
00:48:27,000 --> 00:48:30,440
Speaker 1: my job, made me better with other artists because no

897
00:48:30,480 --> 00:48:34,600
Speaker 1: one's had a career like this who's still active. Um,

898
00:48:34,600 --> 00:48:38,759
Speaker 1: he's super aware every detail, every number he wants to know.

899
00:48:39,120 --> 00:48:43,200
Speaker 1: He's super tuned in, doesn't gloss over anything, needs reporting,

900
00:48:43,560 --> 00:48:48,040
Speaker 1: needs constant communication. Is a really big team, um, great,

901
00:48:48,040 --> 00:48:50,840
Speaker 1: great team that we've refined over years. This is my

902
00:48:51,120 --> 00:48:54,120
Speaker 1: sixteenth year poll. It took probably five or six years

903
00:48:54,160 --> 00:48:56,839
Speaker 1: to find the right team, and we have a great team.

904
00:48:56,880 --> 00:48:58,360
Speaker 1: I wish we could have a team like this, but

905
00:48:58,440 --> 00:49:02,560
Speaker 1: every artist I worked with, it would I get better. Um.

906
00:49:02,600 --> 00:49:06,480
Speaker 1: He's so tuned in and so involved in the creative,

907
00:49:06,960 --> 00:49:11,680
Speaker 1: you know, artwork, paper stock, everything we do. Were we

908
00:49:11,800 --> 00:49:15,640
Speaker 1: do working on the catalog piece and he'd approved the

909
00:49:15,719 --> 00:49:19,080
Speaker 1: cardboard stock and then that was out of stock. Covid

910
00:49:19,120 --> 00:49:21,560
Speaker 1: couldn't get a ship, got another one. He's like, just

911
00:49:21,600 --> 00:49:24,840
Speaker 1: not as good. Let's find something else. So every detail

912
00:49:25,280 --> 00:49:28,720
Speaker 1: he's on, no one, no other artists on the planet

913
00:49:28,920 --> 00:49:32,080
Speaker 1: has this attention to detail. I want to see printing

914
00:49:32,120 --> 00:49:35,279
Speaker 1: samples once, to see everything before he signs off. We

915
00:49:35,320 --> 00:49:37,200
Speaker 1: have a full time team who do this sort of

916
00:49:37,200 --> 00:49:40,440
Speaker 1: thing for him to make sure that it's perfect, you know.

917
00:49:40,560 --> 00:49:43,160
Speaker 1: And when it comes to touring every show, when's the

918
00:49:43,200 --> 00:49:45,680
Speaker 1: last time was there? Oh, haven't been here? He's really

919
00:49:45,719 --> 00:49:50,200
Speaker 1: really involved. The only time in my whole time with

920
00:49:50,239 --> 00:49:52,319
Speaker 1: Paul he let me run with something was when he

921
00:49:52,360 --> 00:49:56,480
Speaker 1: did McCartney three, because he delivered it with eight weeks

922
00:49:56,480 --> 00:50:00,480
Speaker 1: ago before the record came out. That was kind of

923
00:50:00,600 --> 00:50:03,000
Speaker 1: and it was writing Covid. It was run about the

924
00:50:03,040 --> 00:50:09,920
Speaker 1: holiday period of twenty and you know he delivers. The

925
00:50:09,960 --> 00:50:13,160
Speaker 1: masters were often running the hoops we had to jump through.

926
00:50:13,160 --> 00:50:15,920
Speaker 1: For vinyl, you know, I went to Thirpman knocked on

927
00:50:15,960 --> 00:50:17,800
Speaker 1: the door literally to see if they could help his

928
00:50:17,920 --> 00:50:20,799
Speaker 1: manufactured vinyl, and they did because without them we went

929
00:50:20,880 --> 00:50:22,920
Speaker 1: upand behind all So it's it felt like a punk

930
00:50:23,000 --> 00:50:25,840
Speaker 1: rock campaign for someone like Paul McCartney. Made this record

931
00:50:25,840 --> 00:50:29,080
Speaker 1: at home, gave us the record eight weeks before Street Day,

932
00:50:29,480 --> 00:50:34,040
Speaker 1: but no expectations, wasn't really doing any promo, and then

933
00:50:34,040 --> 00:50:35,960
Speaker 1: he says, like he usually does, so send me the

934
00:50:36,000 --> 00:50:37,799
Speaker 1: marketing plan, let me look over with what you plan

935
00:50:37,920 --> 00:50:41,799
Speaker 1: to do. It's like, Paul, trust me on this, just

936
00:50:41,960 --> 00:50:43,799
Speaker 1: go with it. We're gonna make it up as we

937
00:50:43,840 --> 00:50:46,759
Speaker 1: go along. We're not going to put any singles. We're

938
00:50:46,800 --> 00:50:50,600
Speaker 1: just gonna try and drive some excitement if we can

939
00:50:50,600 --> 00:50:52,560
Speaker 1: till the street day so people really want to hear

940
00:50:52,600 --> 00:50:54,400
Speaker 1: the music, and we'll do a series of little movie

941
00:50:54,400 --> 00:50:57,359
Speaker 1: trailers just with you know, little themes, maybe a little

942
00:50:57,360 --> 00:51:00,480
Speaker 1: bit of music in there, just to sort of our

943
00:51:00,680 --> 00:51:03,279
Speaker 1: energy behind this campaign from the moment we announced the

944
00:51:03,280 --> 00:51:07,160
Speaker 1: moment that comes out. He's like, you feel okay with

945
00:51:07,160 --> 00:51:09,239
Speaker 1: this and went feel good with it, just go with it,

946
00:51:09,280 --> 00:51:11,200
Speaker 1: and he went, all right, I trust you go with it.

947
00:51:11,520 --> 00:51:15,400
Speaker 1: First time. I took that long for him to not

948
00:51:15,560 --> 00:51:17,880
Speaker 1: be hands off, but just sort of take one hand off,

949
00:51:19,000 --> 00:51:22,960
Speaker 1: you know. And what I came up with on that

950
00:51:23,080 --> 00:51:27,719
Speaker 1: campaign was let's do the remix album. Originally I thought,

951
00:51:27,840 --> 00:51:30,400
Speaker 1: let's try and get out four weeks after the main album.

952
00:51:30,719 --> 00:51:34,480
Speaker 1: Just drop it McCartney. Three Imagined was was our concept.

953
00:51:34,960 --> 00:51:37,359
Speaker 1: And we just have a different artists, young artists, more

954
00:51:37,440 --> 00:51:42,200
Speaker 1: established artists, just a real, very group of genres. Do

955
00:51:42,400 --> 00:51:45,640
Speaker 1: each song that's on the record just for the fun offense,

956
00:51:46,200 --> 00:51:49,439
Speaker 1: purely for the fun of it, no expectations, just trying

957
00:51:49,440 --> 00:51:50,879
Speaker 1: to sort of all I said. All I was trying

958
00:51:50,920 --> 00:51:54,680
Speaker 1: to do was keeping the conversation longer, you know, because

959
00:51:54,719 --> 00:51:56,880
Speaker 1: there's no hit songs on this record. How do we

960
00:51:56,960 --> 00:52:00,440
Speaker 1: keep people talking about it? But then this album became

961
00:52:00,480 --> 00:52:03,880
Speaker 1: pretty good. Paul never, you know, wasn't really involved in it.

962
00:52:04,000 --> 00:52:05,560
Speaker 1: He signed off and all the artists, this is who

963
00:52:05,600 --> 00:52:07,640
Speaker 1: we're going to approach, great, love them, this is great.

964
00:52:08,160 --> 00:52:10,200
Speaker 1: That was really his involvement, and we just went on.

965
00:52:10,360 --> 00:52:12,880
Speaker 1: We made it. He loved every mix that came in

966
00:52:13,120 --> 00:52:15,439
Speaker 1: and spoke to every artist. He wrote to them all

967
00:52:15,800 --> 00:52:19,279
Speaker 1: was so grateful. Really was a fun project, but it

968
00:52:19,400 --> 00:52:22,319
Speaker 1: took longer simply because of the final backboat. We could

969
00:52:22,400 --> 00:52:26,520
Speaker 1: out five months after I think. Um. So that's the

970
00:52:26,560 --> 00:52:28,960
Speaker 1: one time he kind of took his food off the

971
00:52:28,960 --> 00:52:31,239
Speaker 1: guests a little bit and let his team, who are

972
00:52:31,320 --> 00:52:34,960
Speaker 1: really established we all ran with it. Um. But otherwise

973
00:52:35,000 --> 00:52:39,880
Speaker 1: he's all over everything, every detail, like you wouldn't believe. Okay,

974
00:52:40,120 --> 00:52:42,640
Speaker 1: tell me two things you learned from him. You say

975
00:52:42,640 --> 00:52:44,920
Speaker 1: you learned so much. I think when I first started

976
00:52:44,920 --> 00:52:49,200
Speaker 1: working with Paul, it was one of those things where, yeah,

977
00:52:49,200 --> 00:52:51,200
Speaker 1: it was maybe a little more cocky and confident. I

978
00:52:51,200 --> 00:52:52,840
Speaker 1: thought it was good at what I did with the

979
00:52:52,920 --> 00:52:55,879
Speaker 1: artist that worked with, you know, and I was I'm like, yeah,

980
00:52:55,920 --> 00:52:57,960
Speaker 1: I'm happy, I'm I know what I'm doing. I'm pretty

981
00:52:57,960 --> 00:53:00,800
Speaker 1: good at this. You know. I was my late dirties

982
00:53:00,840 --> 00:53:05,240
Speaker 1: and I'm like, okay, I got this. And then he

983
00:53:05,680 --> 00:53:09,480
Speaker 1: would call me at all Ours. You know that a

984
00:53:09,680 --> 00:53:11,800
Speaker 1: PM on a Friday night, you know you've had a

985
00:53:11,840 --> 00:53:15,000
Speaker 1: long week. You just get home, put your feet up,

986
00:53:15,640 --> 00:53:17,839
Speaker 1: I'm gonna maybe have some dinner. I'm tired. It's been

987
00:53:17,840 --> 00:53:20,760
Speaker 1: a long week. A lot of ours and he called

988
00:53:21,960 --> 00:53:24,279
Speaker 1: and he's maybe in the car, maybe driving from the

989
00:53:24,280 --> 00:53:26,800
Speaker 1: country up to town, up to London or something. Hey,

990
00:53:26,920 --> 00:53:29,440
Speaker 1: how's it going. I'm like, yeah, great, great, he's gonna

991
00:53:29,480 --> 00:53:31,680
Speaker 1: remember that thing we were talking about last week. You

992
00:53:31,680 --> 00:53:34,080
Speaker 1: said you get back to me. Didn't hear from you?

993
00:53:34,120 --> 00:53:35,719
Speaker 1: Where are we with that? And I'm like, let me

994
00:53:35,760 --> 00:53:38,040
Speaker 1: get my notebook, but don't worry about it. Can call

995
00:53:38,120 --> 00:53:40,920
Speaker 1: me Monday. Um. And you also said you were gonna

996
00:53:41,040 --> 00:53:44,080
Speaker 1: call me on this thing and that thing. I said, uh, yeah, yeah,

997
00:53:44,080 --> 00:53:45,440
Speaker 1: I haven't done that yet, you know. And I'm like,

998
00:53:46,680 --> 00:53:49,760
Speaker 1: and I got the game. I'm like, that's how people

999
00:53:49,960 --> 00:53:54,759
Speaker 1: don't survive. And he's always says you can call me anytime,

1000
00:53:55,160 --> 00:53:57,560
Speaker 1: seven days a week, night and day. I'm always here,

1001
00:53:57,600 --> 00:54:00,080
Speaker 1: and it's true. And he is that person you can

1002
00:54:00,200 --> 00:54:04,080
Speaker 1: calm nine am on a Saturday, tempt you on a

1003
00:54:04,080 --> 00:54:07,759
Speaker 1: Sunday something's going on, takes your call never, never doesn't

1004
00:54:07,760 --> 00:54:09,640
Speaker 1: take your call, or he'll text back say I'll call

1005
00:54:09,680 --> 00:54:12,560
Speaker 1: you back after this thing or whatever. I started playing

1006
00:54:12,560 --> 00:54:14,200
Speaker 1: the game back, I'd call him on a Saturday morning

1007
00:54:14,239 --> 00:54:16,400
Speaker 1: at nine am and say, hey, Paul, remember we spoke

1008
00:54:16,640 --> 00:54:19,280
Speaker 1: with this thing and you you're gonna sort of approve

1009
00:54:19,480 --> 00:54:21,840
Speaker 1: or not approve that, you know, so we need to

1010
00:54:21,840 --> 00:54:24,480
Speaker 1: move with it. Ye forgot about that. I'll get onto that.

1011
00:54:24,880 --> 00:54:27,640
Speaker 1: And and it was like playing ping pong, you know,

1012
00:54:27,880 --> 00:54:29,920
Speaker 1: instead of being aced all the time, you know, you

1013
00:54:29,960 --> 00:54:33,680
Speaker 1: started to play back and forth, back and forth. Um

1014
00:54:33,719 --> 00:54:35,319
Speaker 1: And I got the point where I'd have to write

1015
00:54:35,400 --> 00:54:38,080
Speaker 1: little basic notes because he could call yourn or somewhere

1016
00:54:38,080 --> 00:54:40,279
Speaker 1: you're in a restaurant, you know, and he wants to

1017
00:54:40,320 --> 00:54:42,520
Speaker 1: know the answers. I have all the answers. And then

1018
00:54:42,560 --> 00:54:45,319
Speaker 1: I just got the point where I felt like I

1019
00:54:45,360 --> 00:54:46,920
Speaker 1: was in top hall. But it took him in in,

1020
00:54:47,560 --> 00:54:48,920
Speaker 1: you know, at the point where you feel like your

1021
00:54:48,920 --> 00:54:53,200
Speaker 1: head bobbing underwater. You're like, then deliver, then deliver, and

1022
00:54:53,200 --> 00:54:55,680
Speaker 1: that just makes you better at your game, makes you

1023
00:54:55,840 --> 00:55:00,840
Speaker 1: more efficient. Um And through going through so many different

1024
00:55:00,880 --> 00:55:05,200
Speaker 1: experiences with him, and they are of PR. How he

1025
00:55:05,480 --> 00:55:08,560
Speaker 1: talked about PR having gone through from the Beatles through

1026
00:55:08,600 --> 00:55:12,440
Speaker 1: the present day creative PR games that you play things,

1027
00:55:12,520 --> 00:55:17,520
Speaker 1: I'm like, Wow, I learned they are are from him

1028
00:55:17,600 --> 00:55:20,200
Speaker 1: how to do it better and that translate to other

1029
00:55:20,320 --> 00:55:22,640
Speaker 1: artists what you need to do to make it connect

1030
00:55:22,719 --> 00:55:25,480
Speaker 1: and be better, you know, And because he is the

1031
00:55:25,520 --> 00:55:28,440
Speaker 1: master of it. He's been in the public eye for

1032
00:55:28,480 --> 00:55:31,640
Speaker 1: sixty years, you know, and at that point I would

1033
00:55:31,680 --> 00:55:33,800
Speaker 1: say he I would say he's an expert. At that point,

1034
00:55:33,840 --> 00:55:37,000
Speaker 1: it's more than ten, that's for sure. You said you

1035
00:55:37,040 --> 00:55:39,919
Speaker 1: also learned a lot from Barry Marshal the agent. Tell

1036
00:55:39,920 --> 00:55:42,760
Speaker 1: me a couple of things you learned there with Barry.

1037
00:55:43,160 --> 00:55:48,040
Speaker 1: Barry is the ultimate gentleman one. He knows his craft

1038
00:55:48,400 --> 00:55:51,680
Speaker 1: better than anyone else on the planet. He promotes shows

1039
00:55:51,800 --> 00:55:54,240
Speaker 1: all over the world. He's not just a British promoter

1040
00:55:54,480 --> 00:55:58,759
Speaker 1: or a British agent. And his attention to detail. If

1041
00:55:58,840 --> 00:56:01,120
Speaker 1: Paul has never been in the building, or he hasn't

1042
00:56:01,160 --> 00:56:03,239
Speaker 1: been in the building, he will fly there with our

1043
00:56:03,239 --> 00:56:06,680
Speaker 1: production manager and our tour accountant and they go through

1044
00:56:06,719 --> 00:56:09,600
Speaker 1: the building. They say, can we do the show? If

1045
00:56:09,640 --> 00:56:12,080
Speaker 1: we do the show, do we have enough of facility here?

1046
00:56:12,360 --> 00:56:15,239
Speaker 1: What is everything? They check everything. He flies around the

1047
00:56:15,280 --> 00:56:18,719
Speaker 1: world to check everywhere before he confirmed the show Number one,

1048
00:56:19,400 --> 00:56:22,439
Speaker 1: number two. We've done some really weird shows with Paul,

1049
00:56:22,760 --> 00:56:25,719
Speaker 1: really weird sort of you know, be a promo or

1050
00:56:25,960 --> 00:56:29,560
Speaker 1: fun of whatever the reason. Small clubs, you know, tiny

1051
00:56:29,640 --> 00:56:32,840
Speaker 1: little clubs or AMVA Records we've done all these weird shows.

1052
00:56:33,280 --> 00:56:35,759
Speaker 1: That is the one who goes in, Okay, this is

1053
00:56:35,800 --> 00:56:37,640
Speaker 1: going to be Poles dressing room, this is going to

1054
00:56:37,719 --> 00:56:42,120
Speaker 1: go here. They make it amazing, unbelievably, So he doesn't

1055
00:56:42,160 --> 00:56:43,920
Speaker 1: need to be doing that. There's other people on the

1056
00:56:43,960 --> 00:56:45,719
Speaker 1: team that can do that, but he's the one who

1057
00:56:45,719 --> 00:56:49,879
Speaker 1: walks through to make sure everything is perfect. When it's

1058
00:56:49,920 --> 00:56:52,719
Speaker 1: looking at ticketing and how your ticket shows, and if

1059
00:56:52,760 --> 00:56:54,640
Speaker 1: you're shore, you go into in his office, he has

1060
00:56:54,680 --> 00:56:57,960
Speaker 1: that full map. You know, say we've got some zone

1061
00:56:58,000 --> 00:57:00,520
Speaker 1: way up in the gods that hasn't been selling, he

1062
00:57:00,719 --> 00:57:03,879
Speaker 1: makes sure it's going to be sold. He also does

1063
00:57:03,920 --> 00:57:08,239
Speaker 1: things like every single show, without fail, always keep a

1064
00:57:08,360 --> 00:57:10,880
Speaker 1: few seats quite a few seats, like maybe a row

1065
00:57:11,200 --> 00:57:14,120
Speaker 1: right at the front that doesn't sell. He would go

1066
00:57:14,160 --> 00:57:17,040
Speaker 1: and pick people that he thinks are really great fans,

1067
00:57:17,440 --> 00:57:21,560
Speaker 1: reassigned them at front rows every show, so there's an

1068
00:57:21,680 --> 00:57:25,720
Speaker 1: energy there. Because one thing that every artist hates is

1069
00:57:25,760 --> 00:57:29,120
Speaker 1: the rich guy up front Cuson is iPhone type and

1070
00:57:29,200 --> 00:57:31,880
Speaker 1: emails because they also sees that guy in the front row,

1071
00:57:32,320 --> 00:57:35,080
Speaker 1: you know, so he they want to see real legitimate

1072
00:57:35,120 --> 00:57:37,440
Speaker 1: fans and when you bring people down from the gods

1073
00:57:37,680 --> 00:57:40,440
Speaker 1: who weren't expecting it. And then the front two or

1074
00:57:40,440 --> 00:57:44,280
Speaker 1: three rows changes the energy for the artist and baries

1075
00:57:44,320 --> 00:57:48,040
Speaker 1: the next Bert at that little detailed little things and

1076
00:57:48,080 --> 00:57:51,920
Speaker 1: it's like, wow, Okay, that's amazing, you know, because not

1077
00:57:51,960 --> 00:57:53,840
Speaker 1: a g A floor, it's it's you know, it's it's

1078
00:57:53,880 --> 00:57:56,840
Speaker 1: reserve seating. You know, where his reserve When it's g

1079
00:57:57,000 --> 00:57:58,440
Speaker 1: A and we have done a few g A quite

1080
00:57:58,480 --> 00:58:01,080
Speaker 1: a lot of stadiums in South America. You get the

1081
00:58:01,160 --> 00:58:04,280
Speaker 1: energy up front, but if it's reserve seats, he brings

1082
00:58:04,280 --> 00:58:07,160
Speaker 1: people down because all of those little things. You know,

1083
00:58:07,320 --> 00:58:11,000
Speaker 1: he's masterful of his job. Okay, what about Shania Twain

1084
00:58:11,120 --> 00:58:13,760
Speaker 1: who played Vegas, etcetera. What are you what about her?

1085
00:58:14,440 --> 00:58:19,040
Speaker 1: She is sort of the ultimate pro. Took time off

1086
00:58:19,200 --> 00:58:22,040
Speaker 1: when her son was born, stepped back from the industry

1087
00:58:22,160 --> 00:58:25,000
Speaker 1: as he got older, her son. You know, she's like, Okay,

1088
00:58:25,040 --> 00:58:28,600
Speaker 1: I'm ready again, I want to do this. Um. She

1089
00:58:28,840 --> 00:58:32,919
Speaker 1: loves Vegas mainly because she's a big horse rider. She's

1090
00:58:32,960 --> 00:58:36,080
Speaker 1: a life just outside of Vegas. Where should go riding?

1091
00:58:36,600 --> 00:58:39,840
Speaker 1: You know, it's just part of her global trek when

1092
00:58:39,880 --> 00:58:42,840
Speaker 1: she moves around the world. Um. So it's very much

1093
00:58:42,840 --> 00:58:46,240
Speaker 1: a lifestyle thing. She liked Vegas. She is her second

1094
00:58:46,280 --> 00:58:49,320
Speaker 1: residency in Vegas, and we'll run a residency all year

1095
00:58:49,400 --> 00:58:51,640
Speaker 1: this year and then look to go and do world

1096
00:58:51,640 --> 00:58:55,600
Speaker 1: through next year. That's the hope. UM. Hopefully there'll be

1097
00:58:55,600 --> 00:58:59,000
Speaker 1: a new album, you know, coming later this Year's fun

1098
00:58:59,080 --> 00:59:01,880
Speaker 1: of working with office like that is introducing them to

1099
00:59:02,040 --> 00:59:06,240
Speaker 1: new collaborators, you know, building new teams around them, giving

1100
00:59:06,280 --> 00:59:10,880
Speaker 1: them a new revival energy for what they do. Um.

1101
00:59:10,920 --> 00:59:14,080
Speaker 1: And not only that, she's very real. She's a great person,

1102
00:59:14,400 --> 00:59:17,840
Speaker 1: great person, hang out with boundless energy, a lot of

1103
00:59:17,840 --> 00:59:20,000
Speaker 1: fun to work with. And she's a worker. And you

1104
00:59:20,160 --> 00:59:22,760
Speaker 1: find this a lot of the office who have had

1105
00:59:22,760 --> 00:59:25,720
Speaker 1: the biggest successes, they work harder than the office who

1106
00:59:25,720 --> 00:59:29,320
Speaker 1: have had a marginal amount of their success. I'm not

1107
00:59:29,400 --> 00:59:32,360
Speaker 1: afraid to work. They know the game. What's your viewpoint?

1108
00:59:32,360 --> 00:59:34,040
Speaker 1: I'm Vegas. You know it used to be the old

1109
00:59:34,120 --> 00:59:37,440
Speaker 1: has beens now young people even people only you know,

1110
00:59:38,080 --> 00:59:40,680
Speaker 1: you know, ten years in or less, like Katy Perry

1111
00:59:40,760 --> 00:59:43,480
Speaker 1: go there. Do you think that's a good thing? To

1112
00:59:43,600 --> 00:59:45,520
Speaker 1: what degree? When you go in you have to worry

1113
00:59:45,560 --> 00:59:48,920
Speaker 1: about production? And of course for those on the inside

1114
00:59:48,920 --> 00:59:52,880
Speaker 1: game in Vegas, the ticket game is totally different. You know,

1115
00:59:53,560 --> 00:59:56,080
Speaker 1: if something doesn't instantly sell out, which is rare to

1116
00:59:56,120 --> 00:59:58,760
Speaker 1: begin with, you have to have whole network of you know,

1117
00:59:59,200 --> 01:00:07,400
Speaker 1: concier different price points, etcetera. Vegas is veggas cells. To

1118
01:00:07,480 --> 01:00:09,800
Speaker 1: be realistic, you've got to be looking at close to

1119
01:00:09,840 --> 01:00:14,000
Speaker 1: a hundred million tickets a year pretty COVID two million

1120
01:00:14,040 --> 01:00:18,600
Speaker 1: a week. That's Vegas. That's a real business for artists

1121
01:00:18,760 --> 01:00:23,120
Speaker 1: and promotors alike, and for the buildings. Then every single

1122
01:00:23,160 --> 01:00:26,840
Speaker 1: theater in Vegas, all of the the in house theater

1123
01:00:26,960 --> 01:00:31,680
Speaker 1: is not, including MGM Arena and Timobile Arena. Their stages

1124
01:00:32,040 --> 01:00:35,280
Speaker 1: are as big or bigger than most arenas, so you

1125
01:00:35,280 --> 01:00:38,080
Speaker 1: can put any size of production in there. I think

1126
01:00:38,160 --> 01:00:41,320
Speaker 1: Usher had like fifteen to seventeen trucks worth of the

1127
01:00:41,320 --> 01:00:45,320
Speaker 1: production in there. Huge amounts of production going there. It's unlimited,

1128
01:00:45,840 --> 01:00:48,280
Speaker 1: so you can do the stage whatever you would do

1129
01:00:48,360 --> 01:00:50,320
Speaker 1: in the biggest arenas in the world, you can do

1130
01:00:50,320 --> 01:00:53,000
Speaker 1: in any pretty much any theater in Vegas. So the

1131
01:00:53,040 --> 01:00:58,160
Speaker 1: facilities are really great and really production friendly. But then

1132
01:00:58,200 --> 01:01:01,600
Speaker 1: you've got to boil down the business. If the theater

1133
01:01:01,800 --> 01:01:06,000
Speaker 1: is between four and six thousand capacity, which mostly they are,

1134
01:01:06,960 --> 01:01:11,800
Speaker 1: that's still less than half the size of your Aragorina.

1135
01:01:12,240 --> 01:01:15,000
Speaker 1: So you're not going to sell as many tickets and

1136
01:01:15,040 --> 01:01:17,320
Speaker 1: you're not going to make as much money as say

1137
01:01:17,680 --> 01:01:20,480
Speaker 1: one Night am GM versus one night A planed a Hollywood.

1138
01:01:20,920 --> 01:01:22,800
Speaker 1: You're not gonna make the same money. No about how

1139
01:01:22,840 --> 01:01:24,720
Speaker 1: the tickets of scale, it's not going to be the same.

1140
01:01:26,120 --> 01:01:29,480
Speaker 1: So again I think artists like it because it could

1141
01:01:29,520 --> 01:01:34,160
Speaker 1: be a lifestyle situation, such as the Adele position. She's

1142
01:01:34,200 --> 01:01:38,160
Speaker 1: she's like a young young child. I think quin Stefani

1143
01:01:38,320 --> 01:01:41,080
Speaker 1: young child. You're Britney Spears with a couple of kids.

1144
01:01:41,280 --> 01:01:43,760
Speaker 1: They like to go work maybe in the weekends to

1145
01:01:43,840 --> 01:01:45,800
Speaker 1: fly home. They could fly back to l A then

1146
01:01:45,840 --> 01:01:48,400
Speaker 1: fly back. It's a fortwo minute fly so it's really

1147
01:01:48,520 --> 01:01:51,520
Speaker 1: friendly for them to be able to work, still be

1148
01:01:51,560 --> 01:01:54,600
Speaker 1: a mother and have a different kind of life without

1149
01:01:54,800 --> 01:01:56,439
Speaker 1: being on a bus and track and run the world

1150
01:01:56,440 --> 01:01:59,520
Speaker 1: for six months. So some people choose it for lifestyles,

1151
01:01:59,560 --> 01:02:01,760
Speaker 1: but then you boss is like being the Bruno Mars.

1152
01:02:02,000 --> 01:02:05,240
Speaker 1: You have Lady Gaga all these other shows. Katie Perry

1153
01:02:05,640 --> 01:02:08,520
Speaker 1: who also probably doing it for lifestyle because she's a

1154
01:02:08,560 --> 01:02:10,600
Speaker 1: young mom. You know, she can fly back and forth

1155
01:02:10,600 --> 01:02:13,160
Speaker 1: from her home and ever but a lot of artists

1156
01:02:13,200 --> 01:02:15,840
Speaker 1: on in that position and they may just go in

1157
01:02:15,920 --> 01:02:18,320
Speaker 1: and do I'm going to go in here for you know,

1158
01:02:19,000 --> 01:02:21,160
Speaker 1: I'll do twenty shows in a year, spread out over

1159
01:02:21,200 --> 01:02:24,400
Speaker 1: a few months. I think artists like it because Vegas.

1160
01:02:24,760 --> 01:02:27,200
Speaker 1: I think on average, I was quoted as stats about

1161
01:02:27,680 --> 01:02:30,480
Speaker 1: people at every show are not from Vegas. All people

1162
01:02:30,480 --> 01:02:32,520
Speaker 1: who have flown in, They've flown in for a weekend.

1163
01:02:32,520 --> 01:02:35,160
Speaker 1: They're gonna catch the Beatles Love Show or another set,

1164
01:02:35,240 --> 01:02:37,240
Speaker 1: this Live show or a David Copperfield show. Then I'm

1165
01:02:37,240 --> 01:02:41,040
Speaker 1: going to catch tonight twenty show or Bruna mar show

1166
01:02:41,160 --> 01:02:44,400
Speaker 1: or whoever happens to be playing. So that very much

1167
01:02:44,440 --> 01:02:47,480
Speaker 1: feels like Vegas. It feels like it's super active between

1168
01:02:47,520 --> 01:02:51,040
Speaker 1: Thursday and Sunday, then really quiet maybe between the Monday

1169
01:02:51,080 --> 01:02:57,480
Speaker 1: to Wednesday. Um. Do I like Vegas? Not really? Um,

1170
01:02:57,520 --> 01:03:02,480
Speaker 1: but I get it. I understand that. Is it sustainable

1171
01:03:02,840 --> 01:03:06,440
Speaker 1: that's another question because Vegas itself isn't a huge city.

1172
01:03:07,120 --> 01:03:09,840
Speaker 1: You can see it grow by the year, but in

1173
01:03:09,920 --> 01:03:12,800
Speaker 1: comparison to the major cities in the world, it's not

1174
01:03:12,960 --> 01:03:16,320
Speaker 1: that big. So is it sustainable to do a hundred

1175
01:03:16,320 --> 01:03:19,280
Speaker 1: million tickets a year? I don't know. Well, that hundred million.

1176
01:03:19,320 --> 01:03:22,600
Speaker 1: Can't get it hundering twenty million. Maybe, you know, let's

1177
01:03:22,600 --> 01:03:25,040
Speaker 1: talk of the new Sphere Arena opening there as well,

1178
01:03:25,680 --> 01:03:28,200
Speaker 1: just the third arena possible in the city. You know,

1179
01:03:28,360 --> 01:03:31,440
Speaker 1: they're they got the new Allegiance Stadium there where stadium

1180
01:03:31,440 --> 01:03:33,240
Speaker 1: shows are going. I'm not sure who's played there other

1181
01:03:33,240 --> 01:03:35,360
Speaker 1: than maybe golf, Brooks and guns and roles is so far,

1182
01:03:36,200 --> 01:03:38,760
Speaker 1: but there's another stadium there, you know, So that that

1183
01:03:39,160 --> 01:03:41,720
Speaker 1: city is growing in the growing in sports and trying

1184
01:03:41,760 --> 01:03:44,360
Speaker 1: to bring more sports teams there. And they've got the

1185
01:03:44,400 --> 01:03:47,040
Speaker 1: ice hockey team, you know, think they're trying to bring

1186
01:03:47,080 --> 01:03:50,800
Speaker 1: a basketball team there, you know. So, um, it's ambitious

1187
01:03:50,840 --> 01:03:55,080
Speaker 1: as a city. Um. No. Answering the last part of

1188
01:03:55,080 --> 01:03:56,960
Speaker 1: your question, I think I've got most of it, and

1189
01:03:57,000 --> 01:03:59,320
Speaker 1: now I think you gotta let me go one step

1190
01:03:59,360 --> 01:04:02,880
Speaker 1: deeper here, you know, starting god almost twenty years ago,

1191
01:04:03,000 --> 01:04:07,520
Speaker 1: even longer, touring for the absolute top tier change where

1192
01:04:07,560 --> 01:04:10,720
Speaker 1: they would base in a city maybe Chicago, and they

1193
01:04:10,720 --> 01:04:14,520
Speaker 1: take the jet every night to the different locations, and

1194
01:04:14,560 --> 01:04:18,120
Speaker 1: then we have Vegas. Do you think Vegas is sue

1195
01:04:18,320 --> 01:04:22,120
Speaker 1: generous just one thing or will the future be the

1196
01:04:22,160 --> 01:04:25,240
Speaker 1: acts of the fans coming to the acts as opposed

1197
01:04:25,240 --> 01:04:27,400
Speaker 1: to the acts going to the fans. Acts is they

1198
01:04:27,400 --> 01:04:29,960
Speaker 1: were going to go for the fans. That will never change.

1199
01:04:30,440 --> 01:04:34,360
Speaker 1: That will never change. It has ever changed through my lifetime,

1200
01:04:34,640 --> 01:04:37,960
Speaker 1: your lifetime, and it's not going to change. I think

1201
01:04:38,520 --> 01:04:42,400
Speaker 1: the residency concept can grow one office being based in

1202
01:04:42,440 --> 01:04:45,480
Speaker 1: one city, even if it's not Vegas. I think that

1203
01:04:45,520 --> 01:04:49,080
Speaker 1: can happen and people will travel depending on the office.

1204
01:04:50,200 --> 01:04:52,520
Speaker 1: But I don't think it's a model for every office. Okay,

1205
01:04:52,600 --> 01:04:55,760
Speaker 1: let's go back to the recordings. You know, Paul McCartney

1206
01:04:55,800 --> 01:04:58,200
Speaker 1: is a thing unto himself, not that he's in this equation,

1207
01:04:58,240 --> 01:05:00,720
Speaker 1: but if you go back to the paradigm was established

1208
01:05:00,720 --> 01:05:03,680
Speaker 1: in the seventies and refined in the eighties, you had

1209
01:05:03,720 --> 01:05:07,720
Speaker 1: an album come every three to four years, you win single,

1210
01:05:07,840 --> 01:05:11,360
Speaker 1: the single, up to five singles, whereas today you can

1211
01:05:11,400 --> 01:05:15,400
Speaker 1: put on an album and it's literally over in a weekend. Okay,

1212
01:05:15,800 --> 01:05:18,760
Speaker 1: So what's your view on release schedules? What's your view

1213
01:05:18,800 --> 01:05:21,680
Speaker 1: on putting out albums supposed to singles? What's your view

1214
01:05:21,720 --> 01:05:24,760
Speaker 1: in terms of what dropped once every three years, once

1215
01:05:24,800 --> 01:05:27,280
Speaker 1: every year, as opposed to every month. How do you

1216
01:05:27,280 --> 01:05:31,120
Speaker 1: feel about all that? I mean, you still gotta ball

1217
01:05:31,160 --> 01:05:37,920
Speaker 1: in down to basics. These singers, bands, artists. There are

1218
01:05:38,160 --> 01:05:42,480
Speaker 1: artists that that's their craft. They write songs, most of them.

1219
01:05:42,520 --> 01:05:45,000
Speaker 1: The load of young ones, there's four or five songwriters

1220
01:05:45,000 --> 01:05:49,600
Speaker 1: in each song. It's all studio based. It's great. Is

1221
01:05:50,160 --> 01:05:53,640
Speaker 1: that's a different lane people I work with their artists.

1222
01:05:53,640 --> 01:05:56,880
Speaker 1: It's been a long time writing, you know, and they

1223
01:05:57,000 --> 01:06:00,080
Speaker 1: constantly write. Then it's trying to figure out, well, how

1224
01:06:00,160 --> 01:06:02,920
Speaker 1: do we put this up? How much should we put out?

1225
01:06:03,880 --> 01:06:05,880
Speaker 1: And to your point, should we just do a whole

1226
01:06:05,960 --> 01:06:10,080
Speaker 1: bunch of singles? That doesn't resonate for certain artists and

1227
01:06:10,160 --> 01:06:13,320
Speaker 1: it really resonates for other artists. You know a lot

1228
01:06:13,320 --> 01:06:16,120
Speaker 1: of young artists, you know, they don't even care really

1229
01:06:16,120 --> 01:06:18,800
Speaker 1: about doing not doing albums. They can just put single left,

1230
01:06:18,800 --> 01:06:21,680
Speaker 1: a single after single after single and have a super

1231
01:06:21,680 --> 01:06:25,680
Speaker 1: healthy career. You look at DJs like Calvin Harris, one

1232
01:06:25,720 --> 01:06:30,000
Speaker 1: of the most successful recorded music artists of the past

1233
01:06:30,040 --> 01:06:33,800
Speaker 1: ten years. No one really cares about the albums because

1234
01:06:33,800 --> 01:06:37,440
Speaker 1: it's song driven, event driven. He does the show, it's

1235
01:06:37,440 --> 01:06:40,480
Speaker 1: an event. It's the biggest residency or maybe he goes

1236
01:06:40,520 --> 01:06:43,240
Speaker 1: on tour in a stadium somewhere in South America, whatever

1237
01:06:43,320 --> 01:06:46,640
Speaker 1: happens to be. That's a completely different business. It's just

1238
01:06:46,680 --> 01:06:50,160
Speaker 1: another silo um. But with the people that I work

1239
01:06:50,240 --> 01:06:52,680
Speaker 1: with and looking at the path turn as you say,

1240
01:06:52,760 --> 01:06:55,120
Speaker 1: maybe it's this album over three or four years, maybe

1241
01:06:55,160 --> 01:06:58,600
Speaker 1: it's you know, some music in between or separate projetrotects.

1242
01:06:59,240 --> 01:07:02,600
Speaker 1: Albums can come um really quick, one after the other. Well,

1243
01:07:02,680 --> 01:07:04,439
Speaker 1: you look at Paul, it was like two years from

1244
01:07:04,760 --> 01:07:07,560
Speaker 1: his Egypt station to McCartney three. It was two years.

1245
01:07:08,480 --> 01:07:10,440
Speaker 1: But then McCarty three wasn't planned. He was supposed to

1246
01:07:10,440 --> 01:07:13,120
Speaker 1: be on tour in Europe and doing Glastonbury that year,

1247
01:07:13,320 --> 01:07:16,400
Speaker 1: and there were a whole other plans, family stuff, private stuff,

1248
01:07:16,400 --> 01:07:18,200
Speaker 1: nothing to do with music at all. He had a

1249
01:07:18,240 --> 01:07:21,640
Speaker 1: whole year matth t there's no plan to do an album,

1250
01:07:21,960 --> 01:07:25,680
Speaker 1: just wasn't meant to be. But he's not one to

1251
01:07:25,680 --> 01:07:27,560
Speaker 1: sit around and just sort of put his feet up.

1252
01:07:27,640 --> 01:07:29,840
Speaker 1: He would go to the studio every day, which was

1253
01:07:29,880 --> 01:07:31,880
Speaker 1: around the corner from his house in England. You just

1254
01:07:31,920 --> 01:07:33,680
Speaker 1: go in there and he just sit and work away,

1255
01:07:34,400 --> 01:07:36,760
Speaker 1: clean up a few old things, working a few new things.

1256
01:07:36,760 --> 01:07:39,720
Speaker 1: And before you knew he had an album, and he

1257
01:07:39,800 --> 01:07:41,720
Speaker 1: wasn't sure he had an album yet. Think about it.

1258
01:07:41,720 --> 01:07:43,840
Speaker 1: He's got I got all these songs. I think it's

1259
01:07:43,880 --> 01:07:46,960
Speaker 1: an album. You know, that was the question, And I

1260
01:07:47,000 --> 01:07:50,160
Speaker 1: think that's the healthiest attitude to have a put a

1261
01:07:50,160 --> 01:07:52,680
Speaker 1: collection of songs here, we all sit down, what should

1262
01:07:52,720 --> 01:07:54,960
Speaker 1: we do with it? Should I put this out? Why

1263
01:07:54,960 --> 01:07:57,920
Speaker 1: should I put how to put it up? You know?

1264
01:07:57,960 --> 01:08:01,040
Speaker 1: So every artist has again you lumped them all into

1265
01:08:01,080 --> 01:08:05,560
Speaker 1: one formula or one system. I think you just got

1266
01:08:05,600 --> 01:08:10,040
Speaker 1: to take them all individually, see what their own desires

1267
01:08:10,080 --> 01:08:12,920
Speaker 1: and ambitions are for that music or that project, and

1268
01:08:12,920 --> 01:08:16,639
Speaker 1: try and help them realize it. So I'm game for anything.

1269
01:08:16,680 --> 01:08:18,360
Speaker 1: Whatever anyone wants to do it. So I was like,

1270
01:08:18,680 --> 01:08:20,920
Speaker 1: let's do it. Let's go with it. Okay, how many

1271
01:08:21,000 --> 01:08:23,400
Speaker 1: artists you have on the roster? Now? I have no idea?

1272
01:08:23,960 --> 01:08:27,920
Speaker 1: Um in Maverick, like we were a group of partners,

1273
01:08:28,080 --> 01:08:31,479
Speaker 1: we all have our own rosters. So I got my roster.

1274
01:08:31,680 --> 01:08:35,880
Speaker 1: We have some shared services, some shared staff. Um, so

1275
01:08:36,040 --> 01:08:38,000
Speaker 1: I is now and again dip in to help other

1276
01:08:38,000 --> 01:08:39,960
Speaker 1: people out. They might dip in to help me out,

1277
01:08:40,600 --> 01:08:43,400
Speaker 1: Like I'm quarterback in the red hole. Chili Pepper's record

1278
01:08:43,439 --> 01:08:47,360
Speaker 1: with guy right now? Um you know, so he's like,

1279
01:08:47,479 --> 01:08:48,960
Speaker 1: I haven't put an album for a few years. Can

1280
01:08:48,960 --> 01:08:51,120
Speaker 1: you help me on the album projectin't sure, you know,

1281
01:08:51,160 --> 01:08:54,559
Speaker 1: because I feel like I'm on the the album released

1282
01:08:54,560 --> 01:08:57,599
Speaker 1: treadmill of being very up to date with how certain

1283
01:08:57,600 --> 01:08:59,439
Speaker 1: records should be put up. So I help him and

1284
01:08:59,520 --> 01:09:02,120
Speaker 1: his team on that. It's good for me to do

1285
01:09:02,240 --> 01:09:04,280
Speaker 1: because it helps me stay on top of my game.

1286
01:09:04,880 --> 01:09:07,439
Speaker 1: It's not that complicated. I don't really deal with the band.

1287
01:09:07,479 --> 01:09:10,320
Speaker 1: I just deal with label and our team and what

1288
01:09:10,400 --> 01:09:12,439
Speaker 1: we should be doing on a global basis to try

1289
01:09:12,479 --> 01:09:15,320
Speaker 1: and make this record happen and deliver and be creative

1290
01:09:15,360 --> 01:09:17,920
Speaker 1: around it. So I see that as kind of fun

1291
01:09:18,120 --> 01:09:21,880
Speaker 1: for me. It's a big records, an amazing record, great band,

1292
01:09:22,960 --> 01:09:26,439
Speaker 1: um and so I do a bunch of that. But

1293
01:09:26,439 --> 01:09:35,400
Speaker 1: with my roster is Paul, It's Sny Twain, Andrea Chelli, Morrissey, Um,

1294
01:09:35,439 --> 01:09:37,760
Speaker 1: I got Andrea Chelli's son Mateo Rich Kelly, who we

1295
01:09:37,800 --> 01:09:39,880
Speaker 1: sugn to Capitol, who's just been putting a couple of

1296
01:09:39,960 --> 01:09:44,519
Speaker 1: singles as the Sirie Castleman, Sint Pierre Revo, the actress,

1297
01:09:45,040 --> 01:09:49,760
Speaker 1: and we had her music project with birth um and

1298
01:09:49,800 --> 01:09:51,800
Speaker 1: again that was sort of a fun thing. She's she's

1299
01:09:51,800 --> 01:09:56,040
Speaker 1: having so much success in film and television. Um, you

1300
01:09:56,080 --> 01:09:58,519
Speaker 1: know that she wanted to try music as a solo artist.

1301
01:09:58,920 --> 01:10:01,040
Speaker 1: It's going to take time because she's so busy in

1302
01:10:01,120 --> 01:10:05,320
Speaker 1: film and television. Um. And then across the company between

1303
01:10:05,439 --> 01:10:08,519
Speaker 1: you two Chili Peppers, Madonna is over on the guy

1304
01:10:08,640 --> 01:10:12,479
Speaker 1: side and the big country side, Clarence Baulding, Jason Oldeen,

1305
01:10:13,120 --> 01:10:18,479
Speaker 1: Danish Rucker, Reva McIntire, books and Done, Um, Morgan Wallen

1306
01:10:19,000 --> 01:10:22,120
Speaker 1: um Man with g Robertson trying to think his own

1307
01:10:22,160 --> 01:10:24,880
Speaker 1: jeez roster right now. You know he's in the hip

1308
01:10:24,880 --> 01:10:28,960
Speaker 1: hop world. Let's go back a few years. So you're

1309
01:10:29,040 --> 01:10:33,759
Speaker 1: running your own independent company and Irving as all starts

1310
01:10:33,800 --> 01:10:38,080
Speaker 1: to roll up management companies. And he had a very

1311
01:10:38,120 --> 01:10:41,759
Speaker 1: specific formula. You know, he wrote you a check based

1312
01:10:41,800 --> 01:10:44,040
Speaker 1: on certain revenues and you have to earn it out.

1313
01:10:44,439 --> 01:10:48,360
Speaker 1: What incent advise you to go from independent to going

1314
01:10:48,680 --> 01:10:53,479
Speaker 1: to work with Irving's actually sort of learned, you know,

1315
01:10:53,520 --> 01:10:57,760
Speaker 1: when you don't need the money, it's not financially driven. Um,

1316
01:10:57,880 --> 01:11:01,080
Speaker 1: you think, how do I actually grow what I'm doing?

1317
01:11:02,439 --> 01:11:07,120
Speaker 1: How do I build a bigger network? I always felt

1318
01:11:07,720 --> 01:11:10,280
Speaker 1: like some of my UK because I'm British, as you know,

1319
01:11:10,960 --> 01:11:13,320
Speaker 1: some of my UK manager colleagues like people like the

1320
01:11:13,400 --> 01:11:16,120
Speaker 1: Richard Griffiths of the world or E. Mcanderon all these

1321
01:11:16,120 --> 01:11:21,200
Speaker 1: other great UK managers. None of them spent other than

1322
01:11:21,280 --> 01:11:24,439
Speaker 1: Richard when he was at LABEL. Obviously, you had to

1323
01:11:24,439 --> 01:11:27,439
Speaker 1: spend time on the ground in the US if you're

1324
01:11:27,439 --> 01:11:30,679
Speaker 1: going to service your artists on a global basis, unless

1325
01:11:30,680 --> 01:11:32,759
Speaker 1: they were big enough where you just open an office

1326
01:11:32,760 --> 01:11:34,719
Speaker 1: in New staff and they're going to deal with everything

1327
01:11:34,840 --> 01:11:38,000
Speaker 1: over there. I wanted to be on the ground, and

1328
01:11:38,120 --> 01:11:40,880
Speaker 1: Irving gave me that ability. You know. I had an

1329
01:11:40,880 --> 01:11:43,080
Speaker 1: office in l A for about five or six years

1330
01:11:43,439 --> 01:11:47,320
Speaker 1: before I sorry in New York before I spoke with Irving,

1331
01:11:48,200 --> 01:11:53,879
Speaker 1: but just to sort of get a better level of connectivity,

1332
01:11:54,160 --> 01:11:56,320
Speaker 1: and he certainly helped me get that. You know, you

1333
01:11:56,360 --> 01:11:58,000
Speaker 1: want to learn from him. As soon as I did

1334
01:11:58,000 --> 01:12:00,840
Speaker 1: a deal with Irving, Roger Rains, who was part of

1335
01:12:00,840 --> 01:12:03,800
Speaker 1: Irving's team, based himself in my office, you know. And

1336
01:12:03,960 --> 01:12:07,160
Speaker 1: Roger I remember as a kid that was managing Buork

1337
01:12:07,200 --> 01:12:10,479
Speaker 1: and Roger was sort of CEO of Warner at the time,

1338
01:12:11,479 --> 01:12:14,479
Speaker 1: and being terrified going in to have meetings with him

1339
01:12:14,479 --> 01:12:18,400
Speaker 1: because he was a global chairman. Um to then have

1340
01:12:18,560 --> 01:12:21,760
Speaker 1: him in your office and have him help you. They

1341
01:12:21,800 --> 01:12:27,479
Speaker 1: are of dealmaking, They are of uh negotiation. Roger is

1342
01:12:27,520 --> 01:12:30,720
Speaker 1: a math genius. He is the one person who you

1343
01:12:30,760 --> 01:12:32,960
Speaker 1: can still have a cup of tea and he'll draw

1344
01:12:33,000 --> 01:12:35,200
Speaker 1: a whole deal with all the tax issues, everything on

1345
01:12:35,240 --> 01:12:38,160
Speaker 1: the back of a napkin. One of the most brilliant

1346
01:12:38,200 --> 01:12:40,680
Speaker 1: men I've ever worked with. So, having Roger in my

1347
01:12:40,760 --> 01:12:45,240
Speaker 1: office for six years, what I had learned it was invaluable. No,

1348
01:12:45,520 --> 01:12:49,479
Speaker 1: he became a real mentor to me, unbelievably growing. So

1349
01:12:49,800 --> 01:12:52,360
Speaker 1: that was my benefit really, you know, it was like,

1350
01:12:52,520 --> 01:12:56,400
Speaker 1: imagine you've going back to do do a master's you know,

1351
01:12:56,479 --> 01:12:59,720
Speaker 1: in your craft. That's what it was for me. So

1352
01:12:59,760 --> 01:13:03,200
Speaker 1: I think, if I want my game, if I want

1353
01:13:03,240 --> 01:13:06,200
Speaker 1: to work with bigger artists, more demanding artists, the only

1354
01:13:06,200 --> 01:13:14,839
Speaker 1: way I can do it is by being better myself. Okay,

1355
01:13:14,920 --> 01:13:19,360
Speaker 1: so Irving and Rapino or running Live Nation. Then it's

1356
01:13:19,479 --> 01:13:24,040
Speaker 1: Irving's out and it's just Rapino. And it evolves into

1357
01:13:24,080 --> 01:13:28,559
Speaker 1: what is now Maverick, what changed in their transition and

1358
01:13:28,680 --> 01:13:32,400
Speaker 1: is how is your business different under this heading as

1359
01:13:32,400 --> 01:13:35,720
Speaker 1: opposed to the old one. The whole Maverick concept was

1360
01:13:36,000 --> 01:13:39,880
Speaker 1: an easy one. Look at it as a collective. You know,

1361
01:13:40,200 --> 01:13:43,719
Speaker 1: it's not a corporation. It's a collective of like minded people.

1362
01:13:44,280 --> 01:13:47,240
Speaker 1: It's a knowledge based you know. And the concept of

1363
01:13:47,320 --> 01:13:51,759
Speaker 1: putting Maverick together again was really really simple on paper.

1364
01:13:52,720 --> 01:13:55,559
Speaker 1: Can we as a group of friends who all know

1365
01:13:55,680 --> 01:14:01,120
Speaker 1: each other long established relationships, can we together and this

1366
01:14:01,280 --> 01:14:05,320
Speaker 1: is nothing financial and nothing business like. Can we leverage

1367
01:14:05,760 --> 01:14:08,800
Speaker 1: the power of a lot of really big artists in

1368
01:14:08,880 --> 01:14:13,080
Speaker 1: different genres to create opportunity for them? That was the concept.

1369
01:14:14,520 --> 01:14:17,120
Speaker 1: You can we do better for our artists? Can we

1370
01:14:17,200 --> 01:14:22,760
Speaker 1: bring them more by trying to leverage them collectively? It

1371
01:14:22,800 --> 01:14:24,960
Speaker 1: could be a brand new start up. Imagine if it

1372
01:14:25,000 --> 01:14:27,439
Speaker 1: was Twitter Mark two. Oh, we all come off Twitter

1373
01:14:27,479 --> 01:14:29,360
Speaker 1: Mark one and go into Twitter Mark too. Can we

1374
01:14:29,400 --> 01:14:34,679
Speaker 1: get all the artist equity? Very very bad concerts suggestion there,

1375
01:14:34,680 --> 01:14:38,000
Speaker 1: But that was the concept. It was really really simple.

1376
01:14:39,360 --> 01:14:43,040
Speaker 1: What happens in those situations? Are some of the individuals

1377
01:14:43,560 --> 01:14:49,800
Speaker 1: become so astronomically successful because their artists are hitting and

1378
01:14:49,840 --> 01:14:52,000
Speaker 1: they get this and off they go And that's sort

1379
01:14:52,000 --> 01:14:54,800
Speaker 1: of okay because the whole concept was can we try

1380
01:14:55,000 --> 01:14:59,240
Speaker 1: and bring opportunity, which we did um for the artists,

1381
01:14:59,680 --> 01:15:02,160
Speaker 1: you know, And then it comes down to the core.

1382
01:15:03,160 --> 01:15:05,679
Speaker 1: We're all like minded, we all help each other out,

1383
01:15:05,920 --> 01:15:08,799
Speaker 1: we all have respect for each other, you know, and

1384
01:15:09,520 --> 01:15:12,200
Speaker 1: the business is exactly the same, nothing changed. It kind

1385
01:15:12,200 --> 01:15:14,160
Speaker 1: of works like a law firm. You have your own

1386
01:15:14,160 --> 01:15:17,280
Speaker 1: client roster. You could have a hundred clients, you have

1387
01:15:17,320 --> 01:15:19,640
Speaker 1: three clients, you have a hundred, you might earn more

1388
01:15:19,680 --> 01:15:21,760
Speaker 1: than the guys cut three, you know, So it just

1389
01:15:21,840 --> 01:15:25,360
Speaker 1: all downe to the individual and their motivation. I could

1390
01:15:25,479 --> 01:15:29,240
Speaker 1: really really type team that are very, very long established,

1391
01:15:29,920 --> 01:15:32,160
Speaker 1: you know. It's it's really like a family between London

1392
01:15:32,200 --> 01:15:35,120
Speaker 1: and l A great team of staff. How many people,

1393
01:15:35,680 --> 01:15:39,920
Speaker 1: uh tenoral living I think not alone, really tight if

1394
01:15:39,960 --> 01:15:43,679
Speaker 1: we need. Paul's team is different because Paul was very specific.

1395
01:15:43,680 --> 01:15:45,880
Speaker 1: When I work with him, he's he's He's like, I

1396
01:15:45,920 --> 01:15:48,760
Speaker 1: want you to build a team for me that I

1397
01:15:48,880 --> 01:15:51,479
Speaker 1: pay for so that when I fired you. This is

1398
01:15:51,479 --> 01:15:53,680
Speaker 1: my first ever meeting. So when I fired you just

1399
01:15:53,680 --> 01:15:57,200
Speaker 1: put someone else in and the teams there and I'm like,

1400
01:15:57,960 --> 01:15:59,880
Speaker 1: I kind of laughed, and I'm like, Okay, there's probably

1401
01:16:00,000 --> 01:16:02,320
Speaker 1: oone else in the world who could say that, And

1402
01:16:02,360 --> 01:16:04,559
Speaker 1: that's what we did. So we get a team about

1403
01:16:04,560 --> 01:16:07,200
Speaker 1: another ten people over on Pole's side who do nothing

1404
01:16:07,240 --> 01:16:13,080
Speaker 1: but Paul McCartney. UM, and very specific jobs as well. UM.

1405
01:16:13,200 --> 01:16:16,719
Speaker 1: We call it like a production company while the management company. UM.

1406
01:16:16,760 --> 01:16:19,599
Speaker 1: So everything he does is in house. His whole world

1407
01:16:19,880 --> 01:16:22,519
Speaker 1: is in the house. Nothing's out of house. All creative

1408
01:16:22,520 --> 01:16:27,200
Speaker 1: in house, all the photography, archiving, in management, the databasing,

1409
01:16:27,360 --> 01:16:31,880
Speaker 1: the the online team, everything is in house. They don't

1410
01:16:31,880 --> 01:16:34,200
Speaker 1: do anyone else by him, and he's probably the only

1411
01:16:34,320 --> 01:16:36,920
Speaker 1: artist who's in a position to do that, you know,

1412
01:16:37,080 --> 01:16:39,679
Speaker 1: and every other artist, no matter how big, they don't

1413
01:16:39,720 --> 01:16:43,360
Speaker 1: have that. They don't have that facility. So it works

1414
01:16:43,360 --> 01:16:46,000
Speaker 1: again like a law firm. We all work as hard

1415
01:16:46,280 --> 01:16:48,400
Speaker 1: or or not as hard as we want to work,

1416
01:16:48,840 --> 01:16:50,680
Speaker 1: and we get paid as much as we work or

1417
01:16:50,760 --> 01:16:53,599
Speaker 1: successful as our artists are. Okay, but in this particular case,

1418
01:16:53,600 --> 01:16:56,879
Speaker 1: you're mentioning helping guy out with red hot chili peppers,

1419
01:16:57,600 --> 01:16:59,800
Speaker 1: uh when you take them. But then guy helps me

1420
01:17:00,000 --> 01:17:01,360
Speaker 1: and other stuff as well, So it kind of goes

1421
01:17:01,360 --> 01:17:03,880
Speaker 1: back and forth. Okay, So there's not an issue of compensation.

1422
01:17:04,000 --> 01:17:05,840
Speaker 1: You don't feel like, Hey, I did this work I

1423
01:17:05,840 --> 01:17:08,280
Speaker 1: didn't get paid for. It really goes around because God

1424
01:17:08,360 --> 01:17:12,439
Speaker 1: brings opportunity for the office. Because he's such a big

1425
01:17:12,840 --> 01:17:18,280
Speaker 1: focus on start ups, tech and the whole new world

1426
01:17:18,360 --> 01:17:20,840
Speaker 1: that he loves being part of. And he's very successful

1427
01:17:20,840 --> 01:17:25,040
Speaker 1: at and none again. And he has an open door

1428
01:17:25,160 --> 01:17:28,120
Speaker 1: whenever there's big presentations, any of the office want to

1429
01:17:28,120 --> 01:17:30,559
Speaker 1: come in, anyone want to come and see this or

1430
01:17:30,840 --> 01:17:33,160
Speaker 1: something great that might be appropriate for this aufice of

1431
01:17:33,200 --> 01:17:36,880
Speaker 1: this aufice. So he's always bringing opportunities, you know, and

1432
01:17:36,920 --> 01:17:41,440
Speaker 1: he's great at introductions. He's just super network. The relationship

1433
01:17:41,479 --> 01:17:43,799
Speaker 1: really works. You know, we've been friends with twenty five years,

1434
01:17:44,000 --> 01:17:47,960
Speaker 1: um so it's not a new relationships. Traditionally management was

1435
01:17:47,960 --> 01:17:53,920
Speaker 1: either usually fifteen percent sometimes twenty. Irving charges fifteen percent

1436
01:17:54,080 --> 01:17:57,760
Speaker 1: with no contract. What do you charge and do you

1437
01:17:57,800 --> 01:18:01,480
Speaker 1: have a contract? In the very HEAs artists the artists,

1438
01:18:01,920 --> 01:18:06,120
Speaker 1: um I would say, there's two very distinct styles of commission.

1439
01:18:06,520 --> 01:18:12,679
Speaker 1: It was the European style, which was gross on advances

1440
01:18:12,760 --> 01:18:15,920
Speaker 1: and third party revenue. Say, if you did a deal

1441
01:18:15,960 --> 01:18:18,920
Speaker 1: with the sneaker company or whatever, it would be, but

1442
01:18:19,000 --> 01:18:23,479
Speaker 1: on touring, it will be of net after all costs.

1443
01:18:23,520 --> 01:18:26,680
Speaker 1: So the European model sounds like oh it's great, it

1444
01:18:26,720 --> 01:18:31,360
Speaker 1: actually works out less than across. You get lesson advances,

1445
01:18:31,439 --> 01:18:37,440
Speaker 1: but your number is known um so U style traditionally

1446
01:18:37,439 --> 01:18:42,200
Speaker 1: fift like dirving model and in Europe of cross advances,

1447
01:18:42,240 --> 01:18:46,320
Speaker 1: but net net on oud a mixture through my whole career,

1448
01:18:46,560 --> 01:18:50,559
Speaker 1: some UK European style. It's whatever makes you feel is

1449
01:18:50,760 --> 01:18:55,600
Speaker 1: making the artice happy. Have some deals in I have

1450
01:18:55,680 --> 01:18:59,559
Speaker 1: no contracts because if you're not any good or it

1451
01:18:59,560 --> 01:19:02,160
Speaker 1: doesn't work, okay, take hands and you can move on.

1452
01:19:03,360 --> 01:19:07,040
Speaker 1: You know, I would never litigate against an artist, no

1453
01:19:07,040 --> 01:19:10,080
Speaker 1: matter how badly you may be worked over, because the

1454
01:19:10,080 --> 01:19:12,439
Speaker 1: first thing that people will do today, if you're an artist,

1455
01:19:12,840 --> 01:19:15,519
Speaker 1: I'm gonna google this guy and the last thing you

1456
01:19:15,520 --> 01:19:18,040
Speaker 1: want to see is so and so is suing this

1457
01:19:18,240 --> 01:19:21,840
Speaker 1: office is for non payment of commission or something. And

1458
01:19:21,840 --> 01:19:24,479
Speaker 1: it's like, I'm not going to go work with that guy.

1459
01:19:24,760 --> 01:19:27,160
Speaker 1: I think you always want to put the office first.

1460
01:19:27,560 --> 01:19:29,720
Speaker 1: They're not always right, but you still want to support them,

1461
01:19:29,960 --> 01:19:32,479
Speaker 1: and the office comes first. Model is always work for me.

1462
01:19:33,360 --> 01:19:35,840
Speaker 1: Um and I have this argument with some promoters that

1463
01:19:35,840 --> 01:19:38,160
Speaker 1: they believe it or not. It's like you're really not

1464
01:19:38,240 --> 01:19:41,960
Speaker 1: gonna let them hit their bonus points because there were

1465
01:19:42,000 --> 01:19:45,920
Speaker 1: a thousand dollars on the threshold. The artist friendly look

1466
01:19:45,960 --> 01:19:49,240
Speaker 1: after the artist. Artists comes first, look after them. Everything

1467
01:19:49,320 --> 01:19:53,919
Speaker 1: else works out. So again, different styles of deals. Sometimes

1468
01:19:53,960 --> 01:19:57,160
Speaker 1: it's not commission on every revenue stream. Sometimes it's different

1469
01:19:57,160 --> 01:20:01,519
Speaker 1: commissions on different revenue streams. It's gotten really complex. So

1470
01:20:01,520 --> 01:20:04,120
Speaker 1: what we have to do even with no contract, just

1471
01:20:04,160 --> 01:20:07,400
Speaker 1: a basic term of agreement. This is how we agree

1472
01:20:07,520 --> 01:20:10,240
Speaker 1: to be compensated. And if something is not work can

1473
01:20:10,280 --> 01:20:13,360
Speaker 1: you go back and say this is great, let's change it.

1474
01:20:13,360 --> 01:20:15,320
Speaker 1: It's too little because this is what we brought in

1475
01:20:15,320 --> 01:20:18,200
Speaker 1: in this field and it always gets worked up. You

1476
01:20:18,240 --> 01:20:21,280
Speaker 1: just have to have that healthy conversation. Let's talk about

1477
01:20:21,320 --> 01:20:25,400
Speaker 1: promotion deals. You know, there was the roll up that

1478
01:20:25,439 --> 01:20:31,120
Speaker 1: will ultimately became Live Nation. Ultimately uh, Philly and Shouts

1479
01:20:31,160 --> 01:20:35,439
Speaker 1: brought concerts west, it became a G. Now you have

1480
01:20:35,560 --> 01:20:39,599
Speaker 1: certain philosophies, the Q prime philosophy where we would rather

1481
01:20:39,680 --> 01:20:42,559
Speaker 1: go market by market, work with the independence and we

1482
01:20:42,600 --> 01:20:47,160
Speaker 1: can make more money uh going that way. Then there's

1483
01:20:47,360 --> 01:20:51,639
Speaker 1: most of the big acts are taking national or international tours,

1484
01:20:51,720 --> 01:20:54,479
Speaker 1: making a deal with Live Nation or a G. What

1485
01:20:54,680 --> 01:20:58,000
Speaker 1: is your philosophy? Again, there's no one size fistul It

1486
01:20:58,080 --> 01:21:01,600
Speaker 1: is down to the office. A lot of artists like

1487
01:21:01,680 --> 01:21:05,840
Speaker 1: saying we take Paul mccarny do a monster Live Nation

1488
01:21:06,000 --> 01:21:08,040
Speaker 1: or a Monster a G deal if he wanted to,

1489
01:21:08,400 --> 01:21:13,200
Speaker 1: but chooses not to. Still likes to work with all

1490
01:21:13,360 --> 01:21:17,599
Speaker 1: of the independence that he has history with. Shows will

1491
01:21:17,600 --> 01:21:21,040
Speaker 1: always be mixed up between Live Nation and a G

1492
01:21:21,439 --> 01:21:24,519
Speaker 1: sometimes with the promoter who was brought into one of

1493
01:21:24,560 --> 01:21:29,000
Speaker 1: their folds. Very loyal tries to flip Eastern West Coast

1494
01:21:29,000 --> 01:21:31,519
Speaker 1: shows unless there was a G. The stem up Live

1495
01:21:31,640 --> 01:21:35,479
Speaker 1: Nation tries to keep a level playing field. Some artists,

1496
01:21:36,080 --> 01:21:38,680
Speaker 1: even the ones that I don't work with, like to

1497
01:21:38,720 --> 01:21:41,920
Speaker 1: do that huge deal. Maybe it's jay Z, maybe it's

1498
01:21:41,960 --> 01:21:44,880
Speaker 1: Beyonce or whoever. They'll like to do that deal with

1499
01:21:44,960 --> 01:21:47,800
Speaker 1: a big check. And I'm trying to see that from

1500
01:21:47,840 --> 01:21:50,000
Speaker 1: the office point of view. If someone brought your check

1501
01:21:50,040 --> 01:21:52,880
Speaker 1: for a hundred million dollars, a childred million dollars, I'm

1502
01:21:52,920 --> 01:21:57,200
Speaker 1: sure if you're smart business advisors, that money over the

1503
01:21:57,240 --> 01:22:00,320
Speaker 1: course of a year could be really well and ested.

1504
01:22:00,760 --> 01:22:04,600
Speaker 1: So maybe that money as equity at the start is

1505
01:22:04,720 --> 01:22:07,320
Speaker 1: right for that specific artists, Whereas if you go through

1506
01:22:07,439 --> 01:22:13,960
Speaker 1: the c Prime model market by market, promoter by promoter um,

1507
01:22:14,000 --> 01:22:16,439
Speaker 1: that might just be their philosophy, and that's okay if

1508
01:22:16,439 --> 01:22:19,000
Speaker 1: it's right for that artist, because they'll have that conversation

1509
01:22:19,040 --> 01:22:20,639
Speaker 1: with the artist, this is how we want to do it.

1510
01:22:20,800 --> 01:22:23,519
Speaker 1: Are you good with that? You know? Whereas but the

1511
01:22:23,600 --> 01:22:26,080
Speaker 1: cute prime model metallicas seem to do more Live Nation

1512
01:22:26,120 --> 01:22:29,880
Speaker 1: shows than independent shows, different internationally than it is in

1513
01:22:29,920 --> 01:22:32,680
Speaker 1: the US. So I think there's no one size at all.

1514
01:22:33,360 --> 01:22:36,120
Speaker 1: You know, some promoters get the big ones a G

1515
01:22:36,240 --> 01:22:38,920
Speaker 1: and Live Nation will get aggressive on Feast for certain

1516
01:22:38,960 --> 01:22:42,519
Speaker 1: tours and I bid each other. Um, so the authors

1517
01:22:42,560 --> 01:22:45,559
Speaker 1: tends to win in that instance if they go with

1518
01:22:45,560 --> 01:22:52,160
Speaker 1: one of those promoters. Um, I'm sort of fairly never

1519
01:22:52,160 --> 01:22:54,519
Speaker 1: been the same no matter who it is. If the

1520
01:22:54,640 --> 01:22:57,599
Speaker 1: artice has history, they love a specific promoter, well that's

1521
01:22:57,600 --> 01:23:00,240
Speaker 1: just going to do their show. That Sigma around the Okay,

1522
01:23:00,280 --> 01:23:02,519
Speaker 1: he's always done our true that's who's going to do it,

1523
01:23:02,920 --> 01:23:05,320
Speaker 1: you know. Or if it's Ja Marciano in the US,

1524
01:23:05,680 --> 01:23:08,240
Speaker 1: let's just do it and we work with Jason's Universal

1525
01:23:08,280 --> 01:23:11,200
Speaker 1: Concidize or something. Whatever the office wants to do, you

1526
01:23:11,240 --> 01:23:14,519
Speaker 1: make it work, there's no question. You know, it's like

1527
01:23:14,600 --> 01:23:18,720
Speaker 1: you want harmony. The record company situation has changed, you know,

1528
01:23:18,800 --> 01:23:21,559
Speaker 1: with the New century. Used to be pretty much certainly

1529
01:23:21,600 --> 01:23:23,479
Speaker 1: in the US, you were dead in the water as

1530
01:23:23,520 --> 01:23:28,880
Speaker 1: an independent without going into why, uh, everything is up

1531
01:23:28,920 --> 01:23:32,760
Speaker 1: for grabs now, Okay, anybody can get their record distributed

1532
01:23:33,000 --> 01:23:37,719
Speaker 1: through tune Core or another CD baby, etcetera. The major

1533
01:23:37,840 --> 01:23:41,200
Speaker 1: labels tend to sign things that have already been developed

1534
01:23:41,200 --> 01:23:46,240
Speaker 1: online as opposed to developing things themselves. And you can

1535
01:23:46,280 --> 01:23:49,439
Speaker 1: negotiate for things that were harder to negotiate for before,

1536
01:23:49,880 --> 01:23:54,840
Speaker 1: you know, return of rights, owning masters, higher percentage royalty.

1537
01:23:55,000 --> 01:23:58,040
Speaker 1: What is your view on whether you need a label

1538
01:23:58,160 --> 01:24:00,920
Speaker 1: or not and whether to sign or not and what

1539
01:24:01,040 --> 01:24:03,559
Speaker 1: kind of deal you can make? Again, I feel like

1540
01:24:03,560 --> 01:24:06,080
Speaker 1: I'm a broken record here. It stands an individual artist

1541
01:24:07,080 --> 01:24:12,160
Speaker 1: having done every single conceivable deal known to man with

1542
01:24:12,280 --> 01:24:16,280
Speaker 1: different artists, and and did this a lot with Arcade Fire,

1543
01:24:16,439 --> 01:24:18,639
Speaker 1: who I worked with for twelve years or so, who

1544
01:24:18,640 --> 01:24:21,800
Speaker 1: did that, did their first five albums, and in the

1545
01:24:21,800 --> 01:24:25,200
Speaker 1: beginning they had eight different licenses that you know, on

1546
01:24:25,240 --> 01:24:27,640
Speaker 1: their first album they paid for it themselves, licensed to

1547
01:24:27,680 --> 01:24:33,960
Speaker 1: eight different labels, and they ended up being paid probably

1548
01:24:35,000 --> 01:24:37,439
Speaker 1: for selling about a million albums worldwide. They probably got

1549
01:24:37,439 --> 01:24:41,519
Speaker 1: conversated on the five million albums, so they were really, really,

1550
01:24:41,560 --> 01:24:45,280
Speaker 1: really well paid because of the nature of their independent deals.

1551
01:24:45,920 --> 01:24:48,479
Speaker 1: Now that feels like a bit of an anomaly because

1552
01:24:49,000 --> 01:24:53,400
Speaker 1: that was a physical buying market along with Apple digital downloads.

1553
01:24:53,640 --> 01:24:56,200
Speaker 1: This is pre streaming, you know, in two thousand five,

1554
01:24:56,240 --> 01:24:59,320
Speaker 1: two six, when the first album came up, and they

1555
01:24:59,439 --> 01:25:04,840
Speaker 1: really benefited from that all the way through every album

1556
01:25:04,840 --> 01:25:07,479
Speaker 1: that came out until probably their last album, you know,

1557
01:25:07,479 --> 01:25:12,000
Speaker 1: when streaming was really the most dominant partner. Um by

1558
01:25:12,120 --> 01:25:16,840
Speaker 1: being creative with all of their independent deals. When they

1559
01:25:16,960 --> 01:25:21,320
Speaker 1: finally went over to major deal, they had split territory deals,

1560
01:25:21,479 --> 01:25:25,400
Speaker 1: really short licenses, five year licenses, records come back. So

1561
01:25:25,479 --> 01:25:29,920
Speaker 1: in my short twelve years with this band, did the

1562
01:25:29,960 --> 01:25:32,640
Speaker 1: same with publishing. Publishing deal ends. Oh we're going to

1563
01:25:32,720 --> 01:25:35,200
Speaker 1: sign the whole catalog again. There are three albums, are

1564
01:25:35,200 --> 01:25:38,960
Speaker 1: four albums. They really reaped the reward from owning the

1565
01:25:39,040 --> 01:25:42,880
Speaker 1: masters so they can be super creative. When they were

1566
01:25:43,000 --> 01:25:46,920
Speaker 1: that hot commodity, every major wanted to sign and overpay

1567
01:25:47,000 --> 01:25:51,120
Speaker 1: for but really short licenses. They signed the catalog, they

1568
01:25:51,120 --> 01:25:54,160
Speaker 1: pull it back, signed a new album, catalog would start

1569
01:25:54,200 --> 01:25:58,880
Speaker 1: reverting from another label. Really really creative deals. So that's

1570
01:25:58,920 --> 01:26:04,559
Speaker 1: that's probably one of the most exciting unusual situations I've

1571
01:26:04,600 --> 01:26:06,599
Speaker 1: ever dealt with and again I learned a lot from it.

1572
01:26:08,160 --> 01:26:12,280
Speaker 1: Today new artists, let's say Seceria, who we work with,

1573
01:26:12,760 --> 01:26:15,479
Speaker 1: imagine Daniel hadn't introduced me to and she had no

1574
01:26:15,560 --> 01:26:21,120
Speaker 1: record deal. We could do anything that we wanted to do. Now,

1575
01:26:21,560 --> 01:26:24,720
Speaker 1: if you go with a model where you just want

1576
01:26:24,720 --> 01:26:26,880
Speaker 1: to own all yourself and work it yourself, we need

1577
01:26:26,920 --> 01:26:30,320
Speaker 1: a bit of capital for marketing and video, and you know,

1578
01:26:30,400 --> 01:26:32,320
Speaker 1: we could do like a rights deal with b MG

1579
01:26:32,640 --> 01:26:34,920
Speaker 1: or whoever. If we didn't really want to enter into

1580
01:26:34,960 --> 01:26:38,200
Speaker 1: long term negotiation, we could do that. You know, it's

1581
01:26:38,240 --> 01:26:41,360
Speaker 1: a lot more work on the artist team, huge amount

1582
01:26:41,400 --> 01:26:46,639
Speaker 1: of work, more staff, resources becomes really expensive. But then

1583
01:26:46,640 --> 01:26:49,040
Speaker 1: you have to look at how competitive are you and

1584
01:26:49,080 --> 01:26:50,920
Speaker 1: that's where the major labels come in. If you have

1585
01:26:50,960 --> 01:26:55,480
Speaker 1: an artist who's really competitive, they have a big project,

1586
01:26:55,640 --> 01:26:59,320
Speaker 1: they really want it delivered globally, not just us, they

1587
01:26:59,360 --> 01:27:04,280
Speaker 1: want to globally delivered. You need a major label, I think, UM.

1588
01:27:04,400 --> 01:27:08,240
Speaker 1: And the reason for that is they're just so streamlined

1589
01:27:08,720 --> 01:27:11,439
Speaker 1: in the way that they work today. You find your team,

1590
01:27:11,520 --> 01:27:15,040
Speaker 1: you have a great team. You know, everything works really

1591
01:27:15,080 --> 01:27:19,720
Speaker 1: really efficiently. UM. You actually save money on because of

1592
01:27:19,760 --> 01:27:22,000
Speaker 1: the amount of ad space they buy each year. Their

1593
01:27:22,080 --> 01:27:25,160
Speaker 1: their cost per ad is way more efficient than something

1594
01:27:25,160 --> 01:27:26,960
Speaker 1: that you r I could go and buy tomorrow for

1595
01:27:27,040 --> 01:27:29,680
Speaker 1: the same space because they buy it more weeks a

1596
01:27:29,720 --> 01:27:32,160
Speaker 1: year than you or I would buy, So you cost

1597
01:27:32,200 --> 01:27:35,280
Speaker 1: them down a little bit. More opportunity will come to

1598
01:27:35,360 --> 01:27:37,719
Speaker 1: them because those companies are so big now. They because

1599
01:27:37,760 --> 01:27:43,519
Speaker 1: such you know, unique dedicated departments that work on you know, like, hey,

1600
01:27:43,560 --> 01:27:48,200
Speaker 1: I'm only work with you know, apps and right share companies,

1601
01:27:48,240 --> 01:27:51,120
Speaker 1: and this is an opportunity to command and like all

1602
01:27:51,160 --> 01:27:53,479
Speaker 1: the stuff you can't do on your own. If you're

1603
01:27:53,479 --> 01:27:56,680
Speaker 1: really depend you've just made a cool little record and

1604
01:27:56,720 --> 01:27:59,040
Speaker 1: you're happy with that. You think we're gonna sell ten

1605
01:27:59,080 --> 01:28:02,880
Speaker 1: thousand of these equivalents. We want to be paid five

1606
01:28:02,920 --> 01:28:05,920
Speaker 1: dollars a unit equivalent. You might just do it yourself

1607
01:28:05,960 --> 01:28:08,760
Speaker 1: and then you're happy with that, you know. So it's

1608
01:28:08,800 --> 01:28:11,639
Speaker 1: all depends on the autice and how they want to compete.

1609
01:28:12,320 --> 01:28:14,200
Speaker 1: A lot of authors I find there like, no, we

1610
01:28:14,240 --> 01:28:16,000
Speaker 1: want to be huge, We really want to be huge.

1611
01:28:16,000 --> 01:28:18,400
Speaker 1: At that point, you've got to think, Okay, how do

1612
01:28:18,479 --> 01:28:21,479
Speaker 1: we get them there and not be too concerned. Be

1613
01:28:21,520 --> 01:28:24,360
Speaker 1: concerned about the rights and the rights management, but don't

1614
01:28:24,400 --> 01:28:27,120
Speaker 1: be too concerned about how much money you're going to

1615
01:28:27,200 --> 01:28:30,160
Speaker 1: make off that album if you're agenders. Okay, let's go

1616
01:28:30,200 --> 01:28:32,559
Speaker 1: back to the beginning. So where did you grow up.

1617
01:28:32,840 --> 01:28:35,240
Speaker 1: I grew up in Glasgow, Glasgow? Okay, what was your

1618
01:28:35,280 --> 01:28:38,120
Speaker 1: family situation, what your parents do for living? How many

1619
01:28:38,200 --> 01:28:41,120
Speaker 1: kids in the family. My mom and dad split when

1620
01:28:41,160 --> 01:28:44,240
Speaker 1: I was six. My dad remarried when I was twelve.

1621
01:28:44,320 --> 01:28:46,799
Speaker 1: My mom was a hairdresser. My dad was a cooper,

1622
01:28:47,160 --> 01:28:51,360
Speaker 1: so he made barrels for whiskey. He made what, um barrels,

1623
01:28:51,400 --> 01:28:57,960
Speaker 1: wooden barrels. Really yeah, um, which was kind of fun. Actually,

1624
01:28:59,000 --> 01:29:01,360
Speaker 1: I never drink whiskey because I think instead of just

1625
01:29:01,680 --> 01:29:06,120
Speaker 1: surrounded by as a kid, um, and you drink beer, yeah,

1626
01:29:06,439 --> 01:29:09,799
Speaker 1: drink wine of love. Tequila does not whiskey. Yeah, Whiskey

1627
01:29:09,920 --> 01:29:11,680
Speaker 1: is just it was like everywhere I felt like it

1628
01:29:11,760 --> 01:29:13,759
Speaker 1: was surrounded by it when I was a kid because

1629
01:29:13,960 --> 01:29:16,439
Speaker 1: that was my dad's industry. Uh. And I get two

1630
01:29:16,439 --> 01:29:19,800
Speaker 1: half brothers and half sister. One lives in Melbourne, one Australia,

1631
01:29:19,840 --> 01:29:22,200
Speaker 1: one lives in leon and France and once they lives

1632
01:29:22,200 --> 01:29:25,559
Speaker 1: in Glasgow. My mom still lives in Glasgow. My dad

1633
01:29:25,600 --> 01:29:29,439
Speaker 1: passed on. You're growing up in Glasgow. Are you a

1634
01:29:29,439 --> 01:29:34,160
Speaker 1: good student? Bad student? Popular? Not popular? Popular student, not

1635
01:29:34,320 --> 01:29:39,080
Speaker 1: the best student? Because I got distracted. There's there's two

1636
01:29:39,200 --> 01:29:42,519
Speaker 1: school levels in the UK. There's no middle school, so

1637
01:29:42,560 --> 01:29:45,599
Speaker 1: it's essentially primary school and secondary school. There's no middle

1638
01:29:45,600 --> 01:29:51,120
Speaker 1: school before high school. So that probably when I was

1639
01:29:51,200 --> 01:29:56,680
Speaker 1: about living twelve years old, discovered funk groper music. You know,

1640
01:29:56,680 --> 01:29:58,680
Speaker 1: it was the Clash, it was the sex pistols, it

1641
01:29:58,720 --> 01:30:02,720
Speaker 1: was Ramons, everything that came, and then enjoy Division came

1642
01:30:02,760 --> 01:30:05,320
Speaker 1: after that and it was like I just got consumed.

1643
01:30:06,240 --> 01:30:09,880
Speaker 1: And the whole strategy at that point was how can

1644
01:30:09,920 --> 01:30:12,599
Speaker 1: I go and see all these bands play live with

1645
01:30:12,640 --> 01:30:15,040
Speaker 1: me and my friends? So we go and see every

1646
01:30:15,040 --> 01:30:18,599
Speaker 1: show that came through tom There was a lot of them. Um,

1647
01:30:19,160 --> 01:30:22,160
Speaker 1: we would travel to go see shows. You know it

1648
01:30:22,479 --> 01:30:25,599
Speaker 1: that became the obsession and then you're instead of high

1649
01:30:25,600 --> 01:30:28,080
Speaker 1: school bands, you're trying to how do we make this?

1650
01:30:28,160 --> 01:30:29,960
Speaker 1: I want to be a rock star. Okay, so how

1651
01:30:30,000 --> 01:30:32,479
Speaker 1: did you pick up an instrument? And what were you

1652
01:30:32,520 --> 01:30:34,639
Speaker 1: in the band? My my dad bought me a guitar

1653
01:30:35,040 --> 01:30:37,559
Speaker 1: or the cost thirty pounds. It wasn't very good, but

1654
01:30:37,640 --> 01:30:39,719
Speaker 1: that was it. I brought an amplifier for five pounds

1655
01:30:39,720 --> 01:30:41,439
Speaker 1: for a friend of a friend. It was terrible, you know.

1656
01:30:41,439 --> 01:30:43,559
Speaker 1: It was really small one and you know, and you

1657
01:30:43,640 --> 01:30:45,439
Speaker 1: just sit in your bedroom with song books and trying

1658
01:30:45,439 --> 01:30:48,040
Speaker 1: to listen to records and then make the records. You know.

1659
01:30:48,360 --> 01:30:50,880
Speaker 1: I was I could pass, but I wasn't that great.

1660
01:30:51,320 --> 01:30:54,920
Speaker 1: You've learned pretty soon you're not that great. Okay, So

1661
01:30:55,080 --> 01:30:59,559
Speaker 1: you finished secondary school. What's your next what's your next move? Um?

1662
01:30:59,600 --> 01:31:01,880
Speaker 1: I went to London to stay with a friend for

1663
01:31:01,880 --> 01:31:04,360
Speaker 1: a weekend and then went back. Now you're in London,

1664
01:31:04,400 --> 01:31:06,400
Speaker 1: what's what's your viewpoint? What's your agenda? What are you

1665
01:31:06,439 --> 01:31:09,400
Speaker 1: gonna do? Immediately it's like, I'm like, okay, I got

1666
01:31:09,400 --> 01:31:11,960
Speaker 1: to find a job, just try and pay rent. My

1667
01:31:12,040 --> 01:31:15,200
Speaker 1: friend had an apartment, found a job in a photography

1668
01:31:15,200 --> 01:31:19,040
Speaker 1: studio doing that, which was really cool and I was

1669
01:31:19,080 --> 01:31:22,320
Speaker 1: really well paid for my age. My dad said he

1670
01:31:22,400 --> 01:31:27,479
Speaker 1: give me a gap year between school and university. Um,

1671
01:31:27,520 --> 01:31:29,240
Speaker 1: and I'm like okay. So I sort of had his

1672
01:31:29,280 --> 01:31:31,960
Speaker 1: blessing slightly. I was sort of being groomed to be

1673
01:31:32,000 --> 01:31:37,240
Speaker 1: an accountant. And I was friends with this band on

1674
01:31:37,360 --> 01:31:40,880
Speaker 1: four a D part of Martin Mills Empire. It was

1675
01:31:40,960 --> 01:31:44,800
Speaker 1: run by Iva wats Russell, and I was friends with

1676
01:31:44,840 --> 01:31:48,280
Speaker 1: the band of cop to the Twins. Robin got Freelizbeth Fraser.

1677
01:31:49,600 --> 01:31:52,240
Speaker 1: Robin still one of my best friends to this day.

1678
01:31:52,479 --> 01:31:55,439
Speaker 1: And they stayed in our apartment for a while because

1679
01:31:55,439 --> 01:31:57,120
Speaker 1: they were trying to find a place to live in London.

1680
01:31:57,200 --> 01:32:00,479
Speaker 1: There were also Scottish stay closed for about six months,

1681
01:32:00,720 --> 01:32:04,880
Speaker 1: you know, and I'm super fun time. And then Robin said, hey,

1682
01:32:04,920 --> 01:32:07,080
Speaker 1: there's a band on our label who are auditioning for

1683
01:32:07,120 --> 01:32:10,320
Speaker 1: bass players. You should go do it. And I did

1684
01:32:10,600 --> 01:32:12,360
Speaker 1: and I got in the band. So I left the

1685
01:32:12,520 --> 01:32:15,080
Speaker 1: Toby studio job. This is all within six months of

1686
01:32:15,200 --> 01:32:18,240
Speaker 1: moving to London, and I joined the band who were

1687
01:32:18,280 --> 01:32:22,000
Speaker 1: still going m a band called Dead Can Dance who

1688
01:32:22,080 --> 01:32:25,599
Speaker 1: was sort of this early and he's so I wasn't

1689
01:32:25,640 --> 01:32:27,599
Speaker 1: Deck and Dance for the first two albums. What did

1690
01:32:27,600 --> 01:32:30,880
Speaker 1: your father say about the gap you're knowing the university? Well,

1691
01:32:31,760 --> 01:32:34,040
Speaker 1: he wasn't cool about it. He's like, okay, and then

1692
01:32:34,040 --> 01:32:35,439
Speaker 1: we put a record on it, and all right, you

1693
01:32:35,520 --> 01:32:37,519
Speaker 1: got a record on And he came to see us

1694
01:32:37,560 --> 01:32:39,960
Speaker 1: play alive and he's seen there were like two and

1695
01:32:39,960 --> 01:32:43,040
Speaker 1: a half thousand people there and he's like actually they

1696
01:32:43,120 --> 01:32:45,360
Speaker 1: kind of liked you, and I said, yeah, we're doing okay.

1697
01:32:46,640 --> 01:32:49,080
Speaker 1: He went, all right, he gave me a bit more rope.

1698
01:32:50,160 --> 01:32:53,960
Speaker 1: He just kept feeding it because he actually seen that

1699
01:32:54,320 --> 01:32:56,160
Speaker 1: it didn't look as though I was wasting my time

1700
01:32:56,240 --> 01:33:01,600
Speaker 1: just you know, being a lay about doing nothing. Um

1701
01:33:01,720 --> 01:33:04,080
Speaker 1: very quickly and this is a moly, but the time

1702
01:33:05,000 --> 01:33:08,160
Speaker 1: years old or something very quickly learned, once you start

1703
01:33:08,200 --> 01:33:11,879
Speaker 1: playing festivals or you're playing with other bands, were really amazing.

1704
01:33:13,800 --> 01:33:17,120
Speaker 1: You sort of figure out actually and kind of just

1705
01:33:17,520 --> 01:33:20,160
Speaker 1: getting by. Here am I going to get caught up

1706
01:33:20,160 --> 01:33:23,240
Speaker 1: because I'm not that good? It's good fun. And everyone

1707
01:33:23,240 --> 01:33:24,960
Speaker 1: in the band was five years older than me, which

1708
01:33:24,960 --> 01:33:28,479
Speaker 1: seems like ancient at that age. You know, it's not

1709
01:33:28,640 --> 01:33:30,800
Speaker 1: as you're an adult, but when you're really young, five

1710
01:33:30,920 --> 01:33:34,040
Speaker 1: years is a long time. They were. I was the

1711
01:33:34,080 --> 01:33:40,000
Speaker 1: youngest kid there, and I decided it's time I'm stepping

1712
01:33:40,000 --> 01:33:42,960
Speaker 1: back because they were going to musical direction. That wasn't

1713
01:33:43,000 --> 01:33:45,799
Speaker 1: really the guitar based drums set up. It was definitely

1714
01:33:45,840 --> 01:33:51,160
Speaker 1: more orchestrated and more sort of ambitious. And then I

1715
01:33:51,280 --> 01:33:54,280
Speaker 1: started to at that point I was a shift to management.

1716
01:33:54,280 --> 01:33:58,360
Speaker 1: I was friends with the bandages in marriage and they've

1717
01:33:58,360 --> 01:34:01,679
Speaker 1: just been taken on by Chris Morrison. Chris Morrison, who

1718
01:34:01,960 --> 01:34:05,680
Speaker 1: again another mentor of mine, great, great, great manager who

1719
01:34:05,680 --> 01:34:10,200
Speaker 1: has retired now, who in the eighties managed Living in

1720
01:34:10,200 --> 01:34:13,679
Speaker 1: a Box that Are Alive, Thin Lizzing from the seventies

1721
01:34:13,720 --> 01:34:16,519
Speaker 1: through eighties Ultra Box. He had had this huge, huge,

1722
01:34:16,840 --> 01:34:21,120
Speaker 1: monstrous success, but could see the tide shifting, so he

1723
01:34:21,280 --> 01:34:25,800
Speaker 1: went in this more rock alternative zone and he took

1724
01:34:25,800 --> 01:34:29,160
Speaker 1: on Jesus, Mary Chane. He took on Blur that became Guerrillas.

1725
01:34:29,880 --> 01:34:33,600
Speaker 1: We're still going but Damon from Guerrillas. So he was

1726
01:34:33,640 --> 01:34:37,840
Speaker 1: able to anticipate sort of the shift from what was

1727
01:34:37,880 --> 01:34:40,720
Speaker 1: going on. And I started working with Jesus and Mary

1728
01:34:40,800 --> 01:34:42,960
Speaker 1: Change because they were friends. And then I worked with

1729
01:34:43,080 --> 01:34:46,680
Speaker 1: Chris for a number of years and that kind of

1730
01:34:46,720 --> 01:34:49,400
Speaker 1: became my start of working in management and working for

1731
01:34:49,560 --> 01:34:53,679
Speaker 1: other managers, some really really great, some not so great.

1732
01:34:53,760 --> 01:34:56,200
Speaker 1: But that was kind of my schooling until I started

1733
01:34:56,200 --> 01:34:59,040
Speaker 1: on my own when I was about twenty five. Okay,

1734
01:34:59,040 --> 01:35:01,240
Speaker 1: what was your motivation and what do you do for acts?

1735
01:35:03,080 --> 01:35:05,280
Speaker 1: Going independent? Oh, that's when I started. That's when I

1736
01:35:05,280 --> 01:35:08,400
Speaker 1: started company. It was the hardest thing. The hardest thing

1737
01:35:08,720 --> 01:35:11,160
Speaker 1: was to get because you know what it's like. We

1738
01:35:11,520 --> 01:35:15,080
Speaker 1: had a conversation on commission splits. So let's say your young,

1739
01:35:15,280 --> 01:35:18,840
Speaker 1: hot new band. You're like, they're going to choose a

1740
01:35:18,960 --> 01:35:23,080
Speaker 1: Richard Griffiths who's called you know, Global Success, or they

1741
01:35:23,160 --> 01:35:26,519
Speaker 1: choose an Ian Montone or a John Silva, you know,

1742
01:35:26,840 --> 01:35:29,200
Speaker 1: or they go to Cute Prime. All these big companies.

1743
01:35:29,280 --> 01:35:32,320
Speaker 1: Everybody wants you and they all charge. Is saying, right,

1744
01:35:32,680 --> 01:35:34,839
Speaker 1: I'll to go with this kid who has no company,

1745
01:35:35,000 --> 01:35:37,840
Speaker 1: no track record. He charges the same as everybody else

1746
01:35:37,880 --> 01:35:40,320
Speaker 1: as well. Who do we choose? And that's always the

1747
01:35:40,600 --> 01:35:45,200
Speaker 1: tough thing, you know, And it's worked to my benefit

1748
01:35:45,360 --> 01:35:48,800
Speaker 1: a few times by not being the biggest guy in

1749
01:35:48,840 --> 01:35:52,080
Speaker 1: the room. You know, like the best opportunities to me

1750
01:35:52,120 --> 01:35:54,639
Speaker 1: has happened because I wasn't the biggest guy in the room. Okay,

1751
01:35:54,680 --> 01:35:57,559
Speaker 1: so you go independent with what acts? And then what

1752
01:35:57,560 --> 01:35:59,439
Speaker 1: do you do next? The first two at first two

1753
01:35:59,479 --> 01:36:01,879
Speaker 1: acts I had was one was called the Sneaker Pimps,

1754
01:36:01,920 --> 01:36:05,760
Speaker 1: who had one one very big hit single off the

1755
01:36:05,760 --> 01:36:08,120
Speaker 1: back of the movie The Saint the Belcolm or movie

1756
01:36:08,120 --> 01:36:10,479
Speaker 1: the same and the had a song called six on

1757
01:36:10,600 --> 01:36:13,760
Speaker 1: the Ground that I got to think top five in

1758
01:36:13,760 --> 01:36:16,240
Speaker 1: the US the album went top five. I think we

1759
01:36:16,320 --> 01:36:18,880
Speaker 1: did about a million albums in the US. You know,

1760
01:36:19,000 --> 01:36:21,800
Speaker 1: we were I think we never have had a number one,

1761
01:36:21,840 --> 01:36:24,519
Speaker 1: but we're always top five aorund the world. And that

1762
01:36:24,600 --> 01:36:26,519
Speaker 1: was in the days of when there was so much

1763
01:36:26,560 --> 01:36:29,080
Speaker 1: money in movie promotion. They flew the band around the world,

1764
01:36:29,160 --> 01:36:33,639
Speaker 1: play every premiere, Premier in Madrid, premier in Paris, premier

1765
01:36:33,680 --> 01:36:36,360
Speaker 1: in the premier New York. So this band sort of

1766
01:36:36,760 --> 01:36:39,400
Speaker 1: started getting you know, we're flying around the world doing

1767
01:36:39,560 --> 01:36:43,280
Speaker 1: most of promo at a movie company's expense. And probably

1768
01:36:43,280 --> 01:36:45,360
Speaker 1: about six months after it took them on, I took

1769
01:36:45,360 --> 01:36:47,439
Speaker 1: on Pure so be York could be in the Sugar

1770
01:36:47,560 --> 01:36:49,640
Speaker 1: Cubes if I work with at the time, so we

1771
01:36:49,640 --> 01:36:52,000
Speaker 1: had an established relations. Okay, so you worked with Sugar

1772
01:36:52,120 --> 01:36:54,320
Speaker 1: Sugar Cubes when you work for the other company. And

1773
01:36:54,400 --> 01:36:58,960
Speaker 1: she ultimately decided to go independent, leave the band. Were

1774
01:36:59,000 --> 01:37:01,920
Speaker 1: you part of that? She came to you and said, hey,

1775
01:37:02,080 --> 01:37:05,200
Speaker 1: I'm independent. It was very much a case of we

1776
01:37:05,360 --> 01:37:10,000
Speaker 1: just caught up socially, hanging out, went for lunch and

1777
01:37:10,080 --> 01:37:12,000
Speaker 1: she said, you know, we just said she didn't had

1778
01:37:12,040 --> 01:37:13,200
Speaker 1: what he'd been up to, and I went, well, I

1779
01:37:13,280 --> 01:37:16,800
Speaker 1: just started managing you know this man speak of him.

1780
01:37:16,880 --> 01:37:19,080
Speaker 1: She went, I need a manager? You want to manage me?

1781
01:37:19,560 --> 01:37:22,839
Speaker 1: And I went sure? And it was so organic and natural.

1782
01:37:24,080 --> 01:37:26,920
Speaker 1: It wasn't like I wasnt part of the what we

1783
01:37:26,960 --> 01:37:29,120
Speaker 1: call the beauty parade where she's meeting ten managers. She

1784
01:37:29,160 --> 01:37:31,040
Speaker 1: just wanted someone she knew that she was comfortable way.

1785
01:37:31,960 --> 01:37:34,080
Speaker 1: And that's when I felt, I'm out of my depth.

1786
01:37:35,600 --> 01:37:38,759
Speaker 1: It's like, how am I going to do this? Because

1787
01:37:38,800 --> 01:37:45,479
Speaker 1: she just exploded. Um, and that was learning as I went.

1788
01:37:46,439 --> 01:37:49,280
Speaker 1: But such a great school to go to. At that age.

1789
01:37:49,360 --> 01:37:53,480
Speaker 1: She was famous already, but really when she went independent

1790
01:37:54,160 --> 01:37:57,559
Speaker 1: her solo, she was truly seen as an artist making

1791
01:37:57,640 --> 01:38:02,280
Speaker 1: decisions that not everybody else would make correct, absolutely correct,

1792
01:38:03,160 --> 01:38:05,519
Speaker 1: you know, and a lot of she was someone who

1793
01:38:05,640 --> 01:38:09,719
Speaker 1: was very Again you learn from working with these artists,

1794
01:38:09,760 --> 01:38:13,559
Speaker 1: all of them are different. She is the purest artist

1795
01:38:13,680 --> 01:38:16,000
Speaker 1: I've ever worked with. And what I mean by that

1796
01:38:16,439 --> 01:38:20,519
Speaker 1: is she never wanted to sort of have her face

1797
01:38:20,840 --> 01:38:24,160
Speaker 1: in an ad, you know, for cosmetics or jewelry or something.

1798
01:38:24,800 --> 01:38:27,920
Speaker 1: I didn't want to accept money from brands. She turned

1799
01:38:27,920 --> 01:38:31,200
Speaker 1: down millions on millions of dollars. And she was not

1800
01:38:31,360 --> 01:38:34,200
Speaker 1: a rich artist, you know. She just went I can't

1801
01:38:34,200 --> 01:38:37,320
Speaker 1: do it. I can't do it. The closest we ever

1802
01:38:37,400 --> 01:38:41,120
Speaker 1: got to taking money with Steve Jobs. You know, this

1803
01:38:41,240 --> 01:38:44,080
Speaker 1: is the tour two thousand, two dozen one, just before

1804
01:38:44,160 --> 01:38:48,120
Speaker 1: nine living. We managed to secure meeting with Steve Jobs,

1805
01:38:49,080 --> 01:38:51,320
Speaker 1: much to the reluctance of his team. They gave us

1806
01:38:51,360 --> 01:38:55,240
Speaker 1: fifteen minutes be the four Seasons and fifty seven Street

1807
01:38:55,240 --> 01:38:58,320
Speaker 1: at seven thirty am. You got fifteen minutes or thirty minutes.

1808
01:38:58,360 --> 01:39:01,479
Speaker 1: We had a really short time we got there. Trying

1809
01:39:01,479 --> 01:39:03,640
Speaker 1: to get Buerk there at that time was something and

1810
01:39:04,080 --> 01:39:05,679
Speaker 1: she was doing a tour. And this is just when

1811
01:39:05,800 --> 01:39:07,560
Speaker 1: airport first came out, and you know, I'm going to

1812
01:39:07,680 --> 01:39:10,479
Speaker 1: use airport on stage. We're gonna send little computer files

1813
01:39:10,520 --> 01:39:14,120
Speaker 1: back and forth, and American use airport up front, you know,

1814
01:39:14,160 --> 01:39:17,080
Speaker 1: for merchandise people beon Mac terminals and or the merchandise

1815
01:39:17,160 --> 01:39:20,759
Speaker 1: for from remote computers, things that today sound really easy.

1816
01:39:21,120 --> 01:39:23,679
Speaker 1: When WiFi wasn't everywhere, you needed one of these stations

1817
01:39:23,680 --> 01:39:28,360
Speaker 1: to get WiFi. And that's not that long ago. And Steve,

1818
01:39:28,760 --> 01:39:32,720
Speaker 1: we've got a meeting and she just charmed depends off Dejols.

1819
01:39:33,760 --> 01:39:35,600
Speaker 1: He canceled his next two meetings with to hours with

1820
01:39:35,640 --> 01:39:39,439
Speaker 1: Steve jobs. You could see his people were livid, but

1821
01:39:39,720 --> 01:39:44,320
Speaker 1: she was just talking about her artistic and creative philosophy

1822
01:39:46,120 --> 01:39:51,200
Speaker 1: and why she used his products and what we wanted

1823
01:39:51,240 --> 01:39:52,680
Speaker 1: to try and do and it's going to use it.

1824
01:39:53,360 --> 01:39:55,559
Speaker 1: And we'd love to try and secure a million dollars

1825
01:39:55,560 --> 01:39:59,320
Speaker 1: because what we're doing with this tour, with orchestras and stuff,

1826
01:39:59,600 --> 01:40:02,200
Speaker 1: it would really expensive and we're trying to keep ticket

1827
01:40:02,200 --> 01:40:05,920
Speaker 1: prices low. Even let me come back to you twenty

1828
01:40:05,920 --> 01:40:09,000
Speaker 1: four hours later, Okay, we'll give you all the equipment

1829
01:40:09,120 --> 01:40:11,400
Speaker 1: you want, will give you the money. In two tiyears

1830
01:40:12,400 --> 01:40:14,400
Speaker 1: and they were in and then none, no liven half

1831
01:40:16,080 --> 01:40:18,640
Speaker 1: and then everything for us. No one knew what was

1832
01:40:18,640 --> 01:40:21,559
Speaker 1: happening in the world. It gave us a bunch of equipment,

1833
01:40:21,600 --> 01:40:24,920
Speaker 1: didn't give us any money. But then Steve was charmed

1834
01:40:25,760 --> 01:40:27,720
Speaker 1: and he called up and he's like, okay, I want

1835
01:40:27,720 --> 01:40:31,960
Speaker 1: to offer TV commercial really simple, there's no fee. I'll

1836
01:40:31,960 --> 01:40:34,120
Speaker 1: give her as much equipment as she wants forever for

1837
01:40:34,280 --> 01:40:38,320
Speaker 1: black and white, her creative manifesto, no product, no nothing,

1838
01:40:38,640 --> 01:40:41,800
Speaker 1: just her talking about her creative her creative mind and

1839
01:40:41,840 --> 01:40:46,360
Speaker 1: her creative manifesto. And at the end it goes to

1840
01:40:46,439 --> 01:40:49,160
Speaker 1: black and we've got the white apple symbol on a

1841
01:40:49,200 --> 01:40:52,240
Speaker 1: black screen. That's it. No voice over, no nothing, no

1842
01:40:52,400 --> 01:40:56,639
Speaker 1: heart cell and told the orchids and she's like, oh god,

1843
01:40:56,680 --> 01:40:59,479
Speaker 1: I'm not sure. She said, let me think about it,

1844
01:40:59,800 --> 01:41:01,800
Speaker 1: and was in a car with her somewhere I can't remember.

1845
01:41:01,880 --> 01:41:03,960
Speaker 1: I think we're going to Coachella, of all places. We're

1846
01:41:04,040 --> 01:41:06,360
Speaker 1: driving there. I'm just driving her in the car and

1847
01:41:06,360 --> 01:41:10,240
Speaker 1: Steve Jobs calls. She hasn't go back to me, what's happening?

1848
01:41:10,240 --> 01:41:11,519
Speaker 1: You know. He was kind of getting because he's used

1849
01:41:11,560 --> 01:41:13,599
Speaker 1: to get in his way, But why don't you speak

1850
01:41:13,600 --> 01:41:15,960
Speaker 1: to her yourself and put her on? And she's like, Steve,

1851
01:41:16,200 --> 01:41:18,640
Speaker 1: this is the best offer I've ever had from a

1852
01:41:18,680 --> 01:41:20,680
Speaker 1: big corporation. You know, I love you, you do love

1853
01:41:20,720 --> 01:41:23,439
Speaker 1: your products, but I'm punk rock. I can't say yes

1854
01:41:23,439 --> 01:41:26,439
Speaker 1: into the TV ap And she never did it. And

1855
01:41:26,520 --> 01:41:29,559
Speaker 1: what did he say? He's like he respected her even

1856
01:41:29,600 --> 01:41:35,120
Speaker 1: more because just you know, like Bork became, she wanted

1857
01:41:35,160 --> 01:41:36,960
Speaker 1: to go more into art world, and I was hanging

1858
01:41:36,960 --> 01:41:38,639
Speaker 1: out with her at the weekend, which was really great

1859
01:41:38,680 --> 01:41:41,160
Speaker 1: for her shows in l a Um. You know, we're

1860
01:41:41,160 --> 01:41:43,439
Speaker 1: still friends and you know, like we grew up together,

1861
01:41:43,640 --> 01:41:46,200
Speaker 1: you know, so my heart is still there, you know.

1862
01:41:46,240 --> 01:41:49,600
Speaker 1: With her as a person, I really admire her. But

1863
01:41:49,680 --> 01:41:52,040
Speaker 1: when she got into apps at the beginning of app development,

1864
01:41:52,080 --> 01:41:53,799
Speaker 1: she was one of the first artists who made apps

1865
01:41:53,880 --> 01:41:56,800
Speaker 1: for songs, and Steve helped him make the apps. He

1866
01:41:56,880 --> 01:41:59,920
Speaker 1: introduced it to the right people, he funded a bunch

1867
01:41:59,920 --> 01:42:04,200
Speaker 1: of it. He really helped her. And then I met

1868
01:42:04,240 --> 01:42:07,280
Speaker 1: Steve just before he passed away. He came to one

1869
01:42:07,280 --> 01:42:10,360
Speaker 1: of Polls shows in San Francisco and he was really

1870
01:42:10,400 --> 01:42:13,760
Speaker 1: unwell at this time. He sat side the stage and

1871
01:42:13,800 --> 01:42:15,880
Speaker 1: we chat and said, you probably don't remember me, Steve,

1872
01:42:15,920 --> 01:42:18,200
Speaker 1: because about eight nine years have passed, but you know

1873
01:42:18,280 --> 01:42:21,040
Speaker 1: I worked with you. And He's like, I love that girl.

1874
01:42:21,160 --> 01:42:23,559
Speaker 1: She's the only person who ever said no, the only

1875
01:42:23,640 --> 01:42:26,599
Speaker 1: person who ever said no. And you know she's good.

1876
01:42:26,640 --> 01:42:28,120
Speaker 1: You know I helped her out with the as. Yeah,

1877
01:42:28,160 --> 01:42:29,719
Speaker 1: I know you helped her out with the apps and stuff.

1878
01:42:29,760 --> 01:42:34,320
Speaker 1: She's gone. She is just a creative inspiration. The world

1879
01:42:34,360 --> 01:42:36,960
Speaker 1: needs more people like that. You know. He was so

1880
01:42:37,560 --> 01:42:42,040
Speaker 1: generous with his words of praise. Um for someone who

1881
01:42:42,160 --> 01:42:45,160
Speaker 1: was never a global icon or you know, on on

1882
01:42:45,320 --> 01:42:48,160
Speaker 1: stadium level artist, she was. She did her own thing,

1883
01:42:48,200 --> 01:42:50,400
Speaker 1: and she was difficult as an artist, but as a

1884
01:42:50,439 --> 01:43:00,240
Speaker 1: genuine artist. Okay, so you're me and pure, how do

1885
01:43:00,280 --> 01:43:02,800
Speaker 1: you work your way to our kid? Fire had a

1886
01:43:02,800 --> 01:43:06,280
Speaker 1: few of the smaller artists. That one was called Alabama

1887
01:43:06,320 --> 01:43:09,760
Speaker 1: three who only they loved that. They licensed the song

1888
01:43:09,920 --> 01:43:14,000
Speaker 1: to sopranos and that was the one thing that they did.

1889
01:43:14,520 --> 01:43:18,600
Speaker 1: Um probably the most successful sink in history because of

1890
01:43:18,640 --> 01:43:22,040
Speaker 1: the way that was still television deals weren't like they

1891
01:43:22,040 --> 01:43:24,360
Speaker 1: were now, so they were banned to the gift that

1892
01:43:24,479 --> 01:43:27,719
Speaker 1: kept giving that point. Your licensed for a prop pilot,

1893
01:43:27,720 --> 01:43:30,439
Speaker 1: you licensed for season one, Oh, your license for home

1894
01:43:30,520 --> 01:43:33,160
Speaker 1: video DVDs? Come out with a license for DVD now

1895
01:43:33,560 --> 01:43:35,880
Speaker 1: and it kept wait wait wait. The rumor on that

1896
01:43:36,600 --> 01:43:41,240
Speaker 1: is that they got a very low fee. What's the reality. No,

1897
01:43:42,160 --> 01:43:44,960
Speaker 1: the fee was never huge. There was just a lot

1898
01:43:45,000 --> 01:43:48,799
Speaker 1: of fees. So you've got a fee for the pilot.

1899
01:43:49,439 --> 01:43:52,360
Speaker 1: Then you got a fee for season one, and home

1900
01:43:52,520 --> 01:43:55,680
Speaker 1: video via Chess came out, you got a fee for that,

1901
01:43:56,160 --> 01:43:58,479
Speaker 1: and DVD came out. You got a FIFA that the

1902
01:43:58,640 --> 01:44:00,200
Speaker 1: season two came out, you got a FIFA that, you

1903
01:44:00,240 --> 01:44:02,920
Speaker 1: got a fee phone video d for DVD, and you

1904
01:44:02,960 --> 01:44:06,280
Speaker 1: went through every season get a fee and the fee

1905
01:44:06,320 --> 01:44:11,320
Speaker 1: would go up, so it became quite healthy until the

1906
01:44:11,439 --> 01:44:17,360
Speaker 1: last season of sopranocos Um, David Chase, the creator, did

1907
01:44:17,360 --> 01:44:19,960
Speaker 1: this huge Vanity Fair spread, you know, the great any

1908
01:44:20,080 --> 01:44:24,519
Speaker 1: Labats pull out cover with the whole castle Sopranos, really stunning,

1909
01:44:24,960 --> 01:44:29,519
Speaker 1: stunning photo. Remember reading the interview about how at that point,

1910
01:44:29,560 --> 01:44:32,400
Speaker 1: which seems smaller now but this is haven't been a

1911
01:44:32,400 --> 01:44:36,799
Speaker 1: long time ago, how they had made almost a billion

1912
01:44:36,880 --> 01:44:41,880
Speaker 1: dollars from the franchise. Because we've got to remember that time.

1913
01:44:42,320 --> 01:44:45,160
Speaker 1: Every holiday birthday someone to give you a books at

1914
01:44:45,240 --> 01:44:47,920
Speaker 1: or season two of the Sopranos season season one to five,

1915
01:44:48,479 --> 01:44:50,479
Speaker 1: you kept buying it. Again, it was a gift given

1916
01:44:50,520 --> 01:44:54,120
Speaker 1: thing because everybody watched DVDs or VHS box sets, and

1917
01:44:54,160 --> 01:44:58,920
Speaker 1: they made so much money from those physical sales, unbelievable

1918
01:44:58,920 --> 01:45:03,439
Speaker 1: amounts of money. It was such a financial earner for

1919
01:45:03,640 --> 01:45:07,000
Speaker 1: HBO at that time. So I'm sitting there reading like, wow,

1920
01:45:07,120 --> 01:45:10,599
Speaker 1: this sort of almost a billion dollars, And I went

1921
01:45:10,640 --> 01:45:13,160
Speaker 1: to Derek Burkeer, who's my best friend in the world,

1922
01:45:13,160 --> 01:45:17,759
Speaker 1: who was within the weekend, who runs one little Indian

1923
01:45:17,760 --> 01:45:22,160
Speaker 1: Records in London, who Buaquous signed to Alabama three signed too,

1924
01:45:23,400 --> 01:45:26,000
Speaker 1: and we're still talking about this. It's unbelievable. We're talking

1925
01:45:26,000 --> 01:45:29,760
Speaker 1: about it still, you know. And we said, let's say

1926
01:45:29,840 --> 01:45:33,200
Speaker 1: no when they when the license agreement comes in further

1927
01:45:33,200 --> 01:45:36,280
Speaker 1: the final season, Sopranos, Let's just say no and see

1928
01:45:36,360 --> 01:45:40,200
Speaker 1: what they say, you know, because they're not going to

1929
01:45:40,360 --> 01:45:43,080
Speaker 1: change the song at this stage. Everyone knows you hear

1930
01:45:43,160 --> 01:45:46,560
Speaker 1: the beginning of that song, you know, sopranos. So we

1931
01:45:46,640 --> 01:45:48,680
Speaker 1: said no, and they were like, what do you mean, no,

1932
01:45:48,960 --> 01:45:51,200
Speaker 1: We need the song of the final season. We just

1933
01:45:51,200 --> 01:45:55,320
Speaker 1: went no, and of course they probably got the highest

1934
01:45:55,680 --> 01:45:59,160
Speaker 1: sink higher than any Beatles song for that final season.

1935
01:46:00,880 --> 01:46:04,000
Speaker 1: And then it keeps going. It keeps going because the

1936
01:46:04,920 --> 01:46:06,880
Speaker 1: was it The Many Saints in New York. I don't

1937
01:46:06,960 --> 01:46:09,839
Speaker 1: forgot the exact title right. The movie that came up recently,

1938
01:46:10,520 --> 01:46:15,240
Speaker 1: the prequel with James Gandolfini's Son is a Star. Songs

1939
01:46:15,280 --> 01:46:18,200
Speaker 1: not in it, but what is it's in it? Right

1940
01:46:18,240 --> 01:46:20,080
Speaker 1: at the end, you just hear a little bit of

1941
01:46:20,080 --> 01:46:22,479
Speaker 1: the drum machine and the hairs in the back of

1942
01:46:22,479 --> 01:46:25,479
Speaker 1: your next end up because this movie ends. And then

1943
01:46:25,520 --> 01:46:28,240
Speaker 1: at that point you know Sourprianos is supposed to start,

1944
01:46:29,120 --> 01:46:32,400
Speaker 1: but you hear the song and it's iconic with that,

1945
01:46:32,600 --> 01:46:35,720
Speaker 1: with that story, and it's the song that keeps going

1946
01:46:35,760 --> 01:46:38,320
Speaker 1: because they're gonna do another movie. They're going to use

1947
01:46:38,320 --> 01:46:40,320
Speaker 1: the song, and it's just going to keep going in

1948
01:46:40,439 --> 01:46:44,360
Speaker 1: might turning into another series. Um. So of that band,

1949
01:46:44,760 --> 01:46:49,960
Speaker 1: who never sold the record, had a whole career off

1950
01:46:49,960 --> 01:46:52,519
Speaker 1: the back of that song, kept them going to still going,

1951
01:46:52,560 --> 01:46:55,120
Speaker 1: still do little clubs. Well, you know, I was a

1952
01:46:55,240 --> 01:46:58,519
Speaker 1: huge fan of that band, and I played an exile

1953
01:46:58,720 --> 01:47:02,720
Speaker 1: old Harbor Lane lot and Howard Thompson, the A and

1954
01:47:02,840 --> 01:47:06,080
Speaker 1: R guy. Yeah, Howard said, you gotta watch this new show,

1955
01:47:06,120 --> 01:47:08,439
Speaker 1: The Sopranos, And I remember it was a rainy day

1956
01:47:08,479 --> 01:47:11,160
Speaker 1: at a really odd time. It was like, you know,

1957
01:47:11,720 --> 01:47:14,920
Speaker 1: Sunday night or something, and I club it's out. I'll

1958
01:47:14,920 --> 01:47:17,479
Speaker 1: be able three. Thank you can't believe it. I know.

1959
01:47:17,560 --> 01:47:19,439
Speaker 1: That's just as a fan. I said. You know, they

1960
01:47:19,439 --> 01:47:22,640
Speaker 1: don't have the whole introduction about the chest of me know,

1961
01:47:22,760 --> 01:47:25,360
Speaker 1: oh man, it's unbelievable. So they were there was sort

1962
01:47:25,360 --> 01:47:28,519
Speaker 1: of licensed to Geffen from the One Little Indian. You know.

1963
01:47:28,640 --> 01:47:31,880
Speaker 1: Mark Kates, who's again who worked on that with me,

1964
01:47:32,040 --> 01:47:34,320
Speaker 1: is still one of my dearest dearest friends in the world.

1965
01:47:34,960 --> 01:47:39,280
Speaker 1: Um and I remember the colleges gone, this is you

1966
01:47:39,520 --> 01:47:43,000
Speaker 1: kind of mafia pilot, you know, and we're like, who

1967
01:47:43,160 --> 01:47:45,280
Speaker 1: just licensed? We got to get something going, and that

1968
01:47:45,400 --> 01:47:50,000
Speaker 1: was how it stopped um. But then geff and dropped

1969
01:47:50,040 --> 01:47:53,800
Speaker 1: them because they spend all this money, nothing happened, and

1970
01:47:53,840 --> 01:47:56,719
Speaker 1: then We'll bought one when he was running. Columbia signed

1971
01:47:56,760 --> 01:47:58,680
Speaker 1: him straight away. Not a big deal. That w the

1972
01:47:58,800 --> 01:48:00,439
Speaker 1: songs I hit. We gotta make this song a hit,

1973
01:48:00,760 --> 01:48:03,000
Speaker 1: couldn't make it a hit, you know, so they went

1974
01:48:03,080 --> 01:48:05,280
Speaker 1: deal to deal, made a lot of money with the

1975
01:48:05,320 --> 01:48:08,679
Speaker 1: advances at the time. It's just one of those really

1976
01:48:08,760 --> 01:48:11,719
Speaker 1: really strange stories of a band who had one song

1977
01:48:11,840 --> 01:48:15,840
Speaker 1: that was never genuinely a hit, but everybody knows the song,

1978
01:48:16,400 --> 01:48:18,240
Speaker 1: which is kind of weird. I've never had that before.

1979
01:48:18,720 --> 01:48:21,439
Speaker 1: So then from there to Arcade Far Arcade Fire, where

1980
01:48:21,880 --> 01:48:24,519
Speaker 1: you know, just as they were bubbling under, they're still

1981
01:48:24,520 --> 01:48:27,600
Speaker 1: playing Mercury Lounge and they're playing really small clubs, the

1982
01:48:27,640 --> 01:48:29,800
Speaker 1: Echo and you know, and so on. In l A.

1983
01:48:30,880 --> 01:48:33,559
Speaker 1: Everyone knew there's this really cool band and you've seen

1984
01:48:33,600 --> 01:48:37,280
Speaker 1: them live, incredible live show. I didn't want a manager,

1985
01:48:37,479 --> 01:48:41,120
Speaker 1: but I remember telling Bill Salona, their business manager at

1986
01:48:41,120 --> 01:48:43,840
Speaker 1: the time, and dealing bo there the lawyer. It's like, hey,

1987
01:48:43,880 --> 01:48:45,639
Speaker 1: if they just didn't need any help, you know, happy

1988
01:48:45,640 --> 01:48:47,920
Speaker 1: to help them out, you know, even though don't manage them,

1989
01:48:47,960 --> 01:48:50,880
Speaker 1: just sort their business out because they're doing all themselves.

1990
01:48:51,280 --> 01:48:53,800
Speaker 1: And then about a month after that, Cold Giving Cold said, yeah,

1991
01:48:53,800 --> 01:48:56,240
Speaker 1: they they do meetings now and then, just to make

1992
01:48:56,240 --> 01:48:59,799
Speaker 1: sure I'm the last meeting, because they met with you know, Mention,

1993
01:49:00,080 --> 01:49:02,639
Speaker 1: met with Silver, and they met with everybody. They did

1994
01:49:02,640 --> 01:49:06,519
Speaker 1: the whole runs everybody, and I met them in London

1995
01:49:07,960 --> 01:49:10,040
Speaker 1: five minutes. It was chaos, and they went, can you

1996
01:49:10,080 --> 01:49:13,040
Speaker 1: come to Paris too? Were shown Paris? Like sure, and

1997
01:49:13,040 --> 01:49:15,320
Speaker 1: I went to Paris. Then I ended up set of

1998
01:49:15,360 --> 01:49:18,120
Speaker 1: same thing. After Paris, it was chaos. Everyone wants to

1999
01:49:18,160 --> 01:49:21,000
Speaker 1: meet him, and I'm like, didn't get any time, Like god,

2000
01:49:21,000 --> 01:49:23,040
Speaker 1: this is never gonna work. And they went, we're going

2001
01:49:23,080 --> 01:49:24,760
Speaker 1: on a bus to Amsterdam. Do you want to come

2002
01:49:24,800 --> 01:49:27,000
Speaker 1: to it? Sure? I just got in the bus and

2003
01:49:27,040 --> 01:49:29,200
Speaker 1: I went with them and talked all night in the bus.

2004
01:49:29,240 --> 01:49:30,760
Speaker 1: Stay for the Amsterdam show. Then I think I went

2005
01:49:30,800 --> 01:49:32,640
Speaker 1: to the Berlin show. After that, I just kind of

2006
01:49:32,640 --> 01:49:36,640
Speaker 1: went the same same clothes for about three or four days. Um,

2007
01:49:36,680 --> 01:49:40,120
Speaker 1: And that's how that one came in and they like

2008
01:49:40,240 --> 01:49:44,120
Speaker 1: the idea of working with me over all these other

2009
01:49:44,240 --> 01:49:48,080
Speaker 1: managers who are way way more successful because I work

2010
01:49:48,120 --> 01:49:51,160
Speaker 1: with Pure. And they liked the way her business was running,

2011
01:49:51,120 --> 01:49:53,479
Speaker 1: the way her career was handled, how she was completely

2012
01:49:53,520 --> 01:49:55,720
Speaker 1: in control of her career, the way they wanted to be.

2013
01:49:56,400 --> 01:49:58,320
Speaker 1: You know the fact that she worked with Independence and

2014
01:49:58,400 --> 01:50:01,320
Speaker 1: Majors and it was all mixed um and that's what

2015
01:50:01,360 --> 01:50:04,200
Speaker 1: appealed to them. So how did it end with buerk

2016
01:50:04,400 --> 01:50:08,519
Speaker 1: in Arcade, fireing You and ended with Buyork two ten

2017
01:50:08,600 --> 01:50:13,840
Speaker 1: and Living? I think because she was making her album Biophilia,

2018
01:50:14,400 --> 01:50:16,800
Speaker 1: and it was the first project of hers that I

2019
01:50:16,800 --> 01:50:21,360
Speaker 1: had worked on that I didn't understand. And what I

2020
01:50:21,400 --> 01:50:24,200
Speaker 1: mean by that is and instead of for one of

2021
01:50:24,240 --> 01:50:27,160
Speaker 1: a better terms, the salesman, you give the product, I

2022
01:50:27,200 --> 01:50:32,680
Speaker 1: could sell it to everybody, all your partners, labels, anyone else, promoters?

2023
01:50:32,760 --> 01:50:35,599
Speaker 1: How are we going to do this? And I didn't

2024
01:50:35,600 --> 01:50:38,200
Speaker 1: get it. I was trying to picture myself in her room.

2025
01:50:38,240 --> 01:50:40,120
Speaker 1: And if I didn't understand that, how is everyone else

2026
01:50:40,120 --> 01:50:42,920
Speaker 1: gonna understand it? Because that was an album where she

2027
01:50:43,080 --> 01:50:48,160
Speaker 1: custom build instruments. It was very scientific if you look

2028
01:50:48,160 --> 01:50:53,040
Speaker 1: at it on paper is sheer genius, absolutely brilliant. The

2029
01:50:53,120 --> 01:50:57,040
Speaker 1: show was incredible, but I didn't understand it, and that

2030
01:50:57,320 --> 01:50:59,240
Speaker 1: you know, we're still friends to this day. I just said,

2031
01:50:59,280 --> 01:51:03,840
Speaker 1: I'm not the person and with who can realize your

2032
01:51:03,880 --> 01:51:06,640
Speaker 1: project the way you want to realize. You've kind of

2033
01:51:06,720 --> 01:51:12,080
Speaker 1: crossed the boundary between just doing sound based music into art.

2034
01:51:13,600 --> 01:51:18,120
Speaker 1: And at that time her partner was Matthew Barney, who

2035
01:51:18,200 --> 01:51:23,920
Speaker 1: was a brilliant artist, unbelievably amazing, had a career retrospective

2036
01:51:24,600 --> 01:51:27,760
Speaker 1: at that time at the Guggenheim. All was the Guggenheim

2037
01:51:27,840 --> 01:51:30,080
Speaker 1: brilliant artist for someone that I think he was the

2038
01:51:30,120 --> 01:51:32,920
Speaker 1: youngest artist at that time who had the Guggenheim retrospective,

2039
01:51:34,320 --> 01:51:39,880
Speaker 1: So there was clearly a big artistic ah I felt

2040
01:51:39,920 --> 01:51:43,720
Speaker 1: like an underlying competition in their personal lives. Who is

2041
01:51:43,760 --> 01:51:46,920
Speaker 1: the most extreme you can who can be the most

2042
01:51:47,000 --> 01:51:51,800
Speaker 1: artistic and most brilliant and most ambitious. And at that point,

2043
01:51:51,880 --> 01:51:54,400
Speaker 1: I'm like, this is you know, I'm the wrong person

2044
01:51:54,439 --> 01:51:58,000
Speaker 1: to work this. It wasn't about finances and money or anything.

2045
01:51:58,000 --> 01:51:59,840
Speaker 1: It's just like, I don't know how to do this.

2046
01:52:01,120 --> 01:52:04,360
Speaker 1: And she never replaced me. She just built a team

2047
01:52:05,120 --> 01:52:08,120
Speaker 1: people who could help facilitate and work and it's worked

2048
01:52:08,120 --> 01:52:10,720
Speaker 1: really well. She never wanted to be famous, but she

2049
01:52:10,760 --> 01:52:13,000
Speaker 1: said I tried the pop start, think it was great fun.

2050
01:52:13,280 --> 01:52:15,479
Speaker 1: Not gonna be a pop star anymore, you know. And

2051
01:52:15,520 --> 01:52:20,320
Speaker 1: she's classically trained, so her music is very, very complicated

2052
01:52:20,320 --> 01:52:23,680
Speaker 1: and very ambitious and that's not my skill set. I

2053
01:52:23,720 --> 01:52:26,519
Speaker 1: wish it was, but it's not an arcade fire. With

2054
01:52:26,640 --> 01:52:30,599
Speaker 1: arcade Fire on the last album campaign, you have Winn Butler,

2055
01:52:30,640 --> 01:52:37,800
Speaker 1: who is unbelievably brilliant as a songwriter, so ambitious. In

2056
01:52:37,920 --> 01:52:40,640
Speaker 1: my twelve years with them and five albums, never had

2057
01:52:40,640 --> 01:52:48,000
Speaker 1: a hit single, sold really well, live, unbelievable. You know.

2058
01:52:48,080 --> 01:52:50,960
Speaker 1: It got to a point in the UK, specifically the UK,

2059
01:52:51,360 --> 01:52:54,000
Speaker 1: who really welcomed them with open arms. Headlining Glass and

2060
01:52:54,040 --> 01:52:58,120
Speaker 1: Breed d eighty thousand people within a week, Hyde Park,

2061
01:52:58,240 --> 01:53:01,280
Speaker 1: sixty five people had any with Mom for the Son's

2062
01:53:01,320 --> 01:53:05,240
Speaker 1: opening up UM and three nights at Earl's Court two

2063
01:53:05,560 --> 01:53:10,160
Speaker 1: people a night. It was huge. Everything soldau instantly. There's

2064
01:53:10,200 --> 01:53:15,680
Speaker 1: nothing they could do wrong, and when felt a failure

2065
01:53:16,120 --> 01:53:19,160
Speaker 1: because they didn't get to stadium level because he would

2066
01:53:19,200 --> 01:53:21,040
Speaker 1: look at Cold Clay and bands like that, how come

2067
01:53:21,080 --> 01:53:24,000
Speaker 1: they're doing stadiums and we're not doing stadiums. It's like, well,

2068
01:53:24,240 --> 01:53:29,439
Speaker 1: they're big hit singles, anthems, um, and they do a

2069
01:53:29,439 --> 01:53:32,600
Speaker 1: lot of things that you don't do. They're driven in

2070
01:53:32,640 --> 01:53:34,599
Speaker 1: a different way. They work it. They do a lot

2071
01:53:34,600 --> 01:53:38,080
Speaker 1: of promo, they're playing the game, they're writing pop songs.

2072
01:53:39,439 --> 01:53:43,599
Speaker 1: And it's like he didn't get it. He's like, well,

2073
01:53:43,600 --> 01:53:46,080
Speaker 1: why are we not playing Yankee Stadium and Dodger Stadium

2074
01:53:46,120 --> 01:53:48,320
Speaker 1: on this album campaign? You sort of know in the

2075
01:53:48,400 --> 01:53:50,920
Speaker 1: air when you can do that, And if they'd had

2076
01:53:50,920 --> 01:53:53,599
Speaker 1: a hit single, they could probably have done that. They

2077
01:53:53,640 --> 01:53:56,559
Speaker 1: just didn't get there, you know, even you know, like

2078
01:53:56,640 --> 01:53:59,280
Speaker 1: the last two wasn't successful. They did it in a round.

2079
01:53:59,360 --> 01:54:02,080
Speaker 1: It was really big expensive doing shows in them around

2080
01:54:02,280 --> 01:54:05,880
Speaker 1: is complicated in arenas. I didn't I didn't think they

2081
01:54:05,880 --> 01:54:08,960
Speaker 1: should have done it that way. They knew that. The

2082
01:54:08,960 --> 01:54:12,400
Speaker 1: tour before it was like two nights in Massacre Garden,

2083
01:54:12,439 --> 01:54:14,719
Speaker 1: three nights in Barclays to three nights in the Forum,

2084
01:54:15,000 --> 01:54:18,639
Speaker 1: two weekends headline and Coachella, like everything was going great,

2085
01:54:19,600 --> 01:54:21,960
Speaker 1: and we looked at doing stadiums at that point, and

2086
01:54:22,000 --> 01:54:24,360
Speaker 1: then that's when it became a numbers game because they

2087
01:54:24,400 --> 01:54:26,320
Speaker 1: wanted didn't want to charge over a hundred dollars the

2088
01:54:26,360 --> 01:54:28,240
Speaker 1: ticket and doll the ticket you're trying to do a

2089
01:54:28,240 --> 01:54:30,800
Speaker 1: stadium on that you walk up no money because the

2090
01:54:30,880 --> 01:54:34,120
Speaker 1: overhead to do the show is so high, cover the grass,

2091
01:54:34,440 --> 01:54:36,640
Speaker 1: you know, everything of the infrastructure you've gotta bring in,

2092
01:54:37,400 --> 01:54:39,560
Speaker 1: you know, and stadiums really only work when you have

2093
01:54:39,640 --> 01:54:42,200
Speaker 1: a lot of shows and stadiums and you can you know,

2094
01:54:42,280 --> 01:54:46,480
Speaker 1: aggregate your your production build and try and share stadium

2095
01:54:46,560 --> 01:54:48,800
Speaker 1: with someone else. Maybe there's two different artists can do

2096
01:54:48,840 --> 01:54:51,360
Speaker 1: the same stadium on the weekend, but uses the same

2097
01:54:51,360 --> 01:54:55,640
Speaker 1: structures and same grass covering. You split the cost um.

2098
01:54:55,680 --> 01:54:59,120
Speaker 1: So they felt that it's really when all the rest

2099
01:54:59,120 --> 01:55:02,440
Speaker 1: of the band thinking felt that I wasn't getting into

2100
01:55:02,440 --> 01:55:04,560
Speaker 1: where he wanted to go. We're still friends. We hang

2101
01:55:04,560 --> 01:55:06,560
Speaker 1: out with drinks. A couple of weeks ago. You know,

2102
01:55:06,560 --> 01:55:08,480
Speaker 1: I spent I spent a lot of time in New

2103
01:55:08,520 --> 01:55:10,920
Speaker 1: Orleans because of them. They moved here and I still

2104
01:55:10,920 --> 01:55:14,280
Speaker 1: have a place here, see them in the same bars, restaurants.

2105
01:55:14,760 --> 01:55:16,880
Speaker 1: We're talking to He's like, how do you put music

2106
01:55:16,920 --> 01:55:20,320
Speaker 1: out today? He's going, I've never proved so many formats ever,

2107
01:55:20,800 --> 01:55:23,400
Speaker 1: so they're about to at some point pop music out

2108
01:55:23,720 --> 01:55:26,200
Speaker 1: and we're talking about it and it's healthy, it's good.

2109
01:55:26,480 --> 01:55:28,880
Speaker 1: So I like the fact that I don't work with them.

2110
01:55:29,120 --> 01:55:30,920
Speaker 1: I wouldn't know what to do with them right now.

2111
01:55:31,080 --> 01:55:33,839
Speaker 1: That's the thing because if you look at that genre,

2112
01:55:33,920 --> 01:55:38,240
Speaker 1: the Strokes, Kings and Leon our Cape for Vampire Weekend,

2113
01:55:38,760 --> 01:55:42,080
Speaker 1: you know, Jack White and are what are White Stripes

2114
01:55:42,120 --> 01:55:44,400
Speaker 1: at the time when there were all those bands from

2115
01:55:44,440 --> 01:55:49,160
Speaker 1: that period, that early in the two thousand's, Where is

2116
01:55:49,200 --> 01:55:52,000
Speaker 1: their audience right now? Where is their radio audience? We're

2117
01:55:52,000 --> 01:55:54,720
Speaker 1: talking about radio early in the conversation, interns of radio

2118
01:55:55,240 --> 01:55:58,720
Speaker 1: is pretty much gone. It doesn't resonate, So what is

2119
01:55:58,800 --> 01:56:01,960
Speaker 1: there out there? They don't scream, None of them have

2120
01:56:02,080 --> 01:56:05,040
Speaker 1: streaming followers enough to get them over the over the

2121
01:56:05,120 --> 01:56:08,400
Speaker 1: hump of streaming. It's a physical audience. It's doing nice,

2122
01:56:08,400 --> 01:56:12,360
Speaker 1: cool packages for that audience. But then my big question

2123
01:56:12,440 --> 01:56:15,000
Speaker 1: that I try and answer for myself. If you are

2124
01:56:15,080 --> 01:56:17,440
Speaker 1: like a Stroke, Sa Kings, Leon, r K par or whoever,

2125
01:56:17,560 --> 01:56:21,680
Speaker 1: who've done at least five albums and your show is great,

2126
01:56:21,720 --> 01:56:24,240
Speaker 1: you have a loyal fan base, why do you really

2127
01:56:24,280 --> 01:56:26,960
Speaker 1: need a sixth album? Or will you go and see

2128
01:56:27,000 --> 01:56:29,520
Speaker 1: them for the fifth or sixth time when there's maybe

2129
01:56:29,520 --> 01:56:31,040
Speaker 1: other new things that you want to go if you're

2130
01:56:31,080 --> 01:56:33,520
Speaker 1: on a limited budget. So I'm trying to think and

2131
01:56:33,640 --> 01:56:35,840
Speaker 1: that how would I have done? How would I do this?

2132
01:56:36,160 --> 01:56:39,320
Speaker 1: How would I present this to the world is challenging. Well,

2133
01:56:39,320 --> 01:56:43,360
Speaker 1: the interesting thing is since they've left you, uh, they've

2134
01:56:43,400 --> 01:56:46,720
Speaker 1: had no further success greater than what they had previously.

2135
01:56:46,760 --> 01:56:49,280
Speaker 1: It's gone in the other direction, and that's what's going

2136
01:56:49,320 --> 01:56:52,920
Speaker 1: to happen. I delivered number one, number one, The biggest

2137
01:56:53,000 --> 01:56:55,960
Speaker 1: radio hit was on the last album. Their touring was

2138
01:56:56,400 --> 01:57:00,240
Speaker 1: globally successful. They're deal making structure second to none. They're

2139
01:57:00,240 --> 01:57:03,760
Speaker 1: in a great place. They also have great stock and Spotify.

2140
01:57:03,880 --> 01:57:07,560
Speaker 1: That's we'll see them financially right forever. And we negotiated

2141
01:57:07,680 --> 01:57:11,120
Speaker 1: ten years ago before was public, So they had so

2142
01:57:11,160 --> 01:57:13,760
Speaker 1: many great deals and in such an amazing position, and

2143
01:57:13,760 --> 01:57:17,040
Speaker 1: I'm really really happy about that. I don't think the

2144
01:57:17,120 --> 01:57:19,120
Speaker 1: next album is going to be number one. It's not

2145
01:57:19,240 --> 01:57:21,760
Speaker 1: going to be number one because of what you need

2146
01:57:21,800 --> 01:57:26,160
Speaker 1: to do together. Did they do they have a manager presently? Yes? Yes,

2147
01:57:26,720 --> 01:57:31,840
Speaker 1: is he Vikovich who used to work with Kanye. Great guy,

2148
01:57:32,400 --> 01:57:35,600
Speaker 1: really really good guy, which I'm happy about as well.

2149
01:57:35,720 --> 01:57:37,960
Speaker 1: How did you get Paul McCartney. He co called me.

2150
01:57:38,240 --> 01:57:41,400
Speaker 1: Why it's a really fun story, but this is the

2151
01:57:41,440 --> 01:57:43,280
Speaker 1: Stars in Line. I'm sitting in my off as them

2152
01:57:43,280 --> 01:57:45,800
Speaker 1: in London. I've worked with r K bar Bjork and

2153
01:57:45,840 --> 01:57:50,920
Speaker 1: a couple of smaller acts and my phone goes it's

2154
01:57:50,920 --> 01:57:54,640
Speaker 1: a private number. I just answered it when he's that Scott, Yeah,

2155
01:57:54,640 --> 01:58:00,160
Speaker 1: this is Paul McCarty and I stood up attentions he

2156
01:58:00,200 --> 01:58:02,840
Speaker 1: had walked in the room because you knew it was

2157
01:58:02,920 --> 01:58:04,560
Speaker 1: his voice, and I'm like, why am I standing up?

2158
01:58:04,600 --> 01:58:06,760
Speaker 1: And I'm in my room on my own. He sat

2159
01:58:06,800 --> 01:58:09,760
Speaker 1: back down again. I'd never spoken to Paul, didn't know

2160
01:58:09,800 --> 01:58:13,080
Speaker 1: anyone on his team, and he said, yeah, here your

2161
01:58:13,120 --> 01:58:16,200
Speaker 1: manager said yeah, I don't really like managers, went me,

2162
01:58:16,320 --> 01:58:19,480
Speaker 1: neither other than the couple, and he's gone, I'm working

2163
01:58:19,480 --> 01:58:21,680
Speaker 1: on an album and I need some help. You want

2164
01:58:21,680 --> 01:58:23,160
Speaker 1: to him in the office and we'll have a chat

2165
01:58:23,240 --> 01:58:25,360
Speaker 1: about see if we can do something together. You know,

2166
01:58:25,400 --> 01:58:27,040
Speaker 1: I'd love to get your thoughts and a few things.

2167
01:58:28,080 --> 01:58:30,160
Speaker 1: He said, yeah you might, great, I have my assistant

2168
01:58:30,160 --> 01:58:32,480
Speaker 1: call you will set up. That was a call really

2169
01:58:32,560 --> 01:58:36,480
Speaker 1: short and I'm like, WHOA, that was weird? Where did

2170
01:58:36,480 --> 01:58:39,960
Speaker 1: that come from? And then he assistant calls, choose day,

2171
01:58:40,120 --> 01:58:43,120
Speaker 1: tentacle yet perfect. We stop and meeting in his office.

2172
01:58:44,200 --> 01:58:49,600
Speaker 1: And but ten minutes after that, his lawyer calls because

2173
01:58:49,640 --> 01:58:52,080
Speaker 1: he went he went rogue. He didn't check with anyone,

2174
01:58:52,960 --> 01:58:54,960
Speaker 1: so Afric called me opens he called his lawyer, and

2175
01:58:55,040 --> 01:58:57,160
Speaker 1: lawyer called me said, okay, that's the way the deal works.

2176
01:58:57,280 --> 01:58:59,640
Speaker 1: NBA is coming over. Give me your email address. You

2177
01:58:59,640 --> 01:59:03,880
Speaker 1: know all that stuff started. I'm like, okay, clearly he

2178
01:59:04,040 --> 01:59:06,400
Speaker 1: just went rogan and tell a single person he was

2179
01:59:06,440 --> 01:59:10,320
Speaker 1: doing the call. The next day, I got a call

2180
01:59:10,360 --> 01:59:12,480
Speaker 1: from a really good friend of mine, Jefferson Hack now

2181
01:59:12,600 --> 01:59:16,520
Speaker 1: Jefferson as a journalist. Him and his partner of the

2182
01:59:16,560 --> 01:59:20,600
Speaker 1: photographer rank and the business partner that is, they started

2183
01:59:20,600 --> 01:59:23,120
Speaker 1: a magazine, Dazed and Confused in the UK that was

2184
01:59:23,200 --> 01:59:27,560
Speaker 1: kind of a lifestyle fashion music magazine. Since went on

2185
01:59:27,680 --> 01:59:31,880
Speaker 1: rankings like Superstar. Photographer Jefferson started a few of the

2186
01:59:31,960 --> 01:59:35,280
Speaker 1: magazines they still continues. He's Etra. I think he's the

2187
01:59:35,320 --> 01:59:42,120
Speaker 1: publisher another magazine, another man magazine. You know Sally he's

2188
01:59:42,160 --> 01:59:45,000
Speaker 1: a big and fashion and works with all the fashion

2189
01:59:45,040 --> 01:59:47,200
Speaker 1: houses and things. You know, just someone who was really

2190
01:59:47,840 --> 01:59:50,839
Speaker 1: in touch with the here and now music fashion culture,

2191
01:59:51,920 --> 01:59:54,920
Speaker 1: and obviously he was friends with Stella McCartney. I wasn't

2192
01:59:54,960 --> 01:59:57,120
Speaker 1: friends with I am now, but I wasn't then. So

2193
01:59:57,240 --> 02:00:01,200
Speaker 1: Jefferson Cortey, Hey, Stella McCartney called me instead. I need

2194
02:00:01,240 --> 02:00:04,760
Speaker 1: someone new and interesting to work with my dad. Do

2195
02:00:04,800 --> 02:00:06,640
Speaker 1: you know anyone? He went, I don't know anyone in

2196
02:00:06,720 --> 02:00:09,720
Speaker 1: music except for me, you know, because he was big

2197
02:00:09,720 --> 02:00:11,520
Speaker 1: friends with The York and we knew each other and

2198
02:00:12,000 --> 02:00:14,040
Speaker 1: I knew each other since the magazine started. And so

2199
02:00:14,040 --> 02:00:16,080
Speaker 1: I hope you don't mind that. Gave her your number.

2200
02:00:16,320 --> 02:00:18,440
Speaker 1: So Paul my call and I went, funny, you say

2201
02:00:18,440 --> 02:00:20,440
Speaker 1: that he's already called, and he went, damn, sorry, I

2202
02:00:20,440 --> 02:00:23,520
Speaker 1: should have told you earlier. Um. So this is the thing,

2203
02:00:23,640 --> 02:00:26,400
Speaker 1: just Stella trying to like, which she still does to

2204
02:00:26,440 --> 02:00:29,040
Speaker 1: this day, how to breathe in life into him? How

2205
02:00:29,040 --> 02:00:31,200
Speaker 1: do you know? She's like a mini me of Paul

2206
02:00:31,520 --> 02:00:34,280
Speaker 1: in a female form. You know, she's so dripped and

2207
02:00:34,320 --> 02:00:36,240
Speaker 1: she's like, how do I just get my dad to

2208
02:00:36,240 --> 02:00:39,960
Speaker 1: do things are exciting and interesting, you know. And that's

2209
02:00:39,960 --> 02:00:42,720
Speaker 1: where the number came from. So it was this little chain.

2210
02:00:43,680 --> 02:00:45,960
Speaker 1: They didn't do the beauty parade, he didn't go and

2211
02:00:46,000 --> 02:00:48,320
Speaker 1: meet ten other people. I went and had a meeting.

2212
02:00:49,000 --> 02:00:50,560
Speaker 1: They went, well, let's get a few months and see

2213
02:00:50,560 --> 02:00:53,080
Speaker 1: how it goes. In the first few meetings were really

2214
02:00:53,360 --> 02:00:57,160
Speaker 1: hilariously funny looking back on them. You know, I'll never

2215
02:00:57,200 --> 02:00:58,960
Speaker 1: be the first time you like, he said, Okay, and

2216
02:00:59,040 --> 02:01:01,560
Speaker 1: pull the team together, up the system, somethin the label

2217
02:01:01,760 --> 02:01:03,440
Speaker 1: going to meet over at my house. We're going over

2218
02:01:03,480 --> 02:01:07,720
Speaker 1: to his house in London. We're sitting down and wait, okay,

2219
02:01:07,760 --> 02:01:09,800
Speaker 1: the albums are in eight weeks. What are we going

2220
02:01:09,840 --> 02:01:11,640
Speaker 1: to be doing? And I went, well, first thing, Paul,

2221
02:01:11,920 --> 02:01:13,720
Speaker 1: can we put it back four weeks so we've got

2222
02:01:13,760 --> 02:01:17,120
Speaker 1: a bit more time? He went, Listen, when I was

2223
02:01:17,160 --> 02:01:21,480
Speaker 1: in the Beatles, we finished the Friday record would be out,

2224
02:01:21,520 --> 02:01:23,320
Speaker 1: but in three or four days, probably on the Monday

2225
02:01:23,320 --> 02:01:27,680
Speaker 1: of the Tuesday. Now records coming out. It's fine, It's like, okay,

2226
02:01:28,000 --> 02:01:31,480
Speaker 1: that was like one of the first meetings. Um, but

2227
02:01:31,600 --> 02:01:33,959
Speaker 1: that I thought it'd be in there doing some consulting

2228
02:01:34,040 --> 02:01:36,520
Speaker 1: for him and helping out just on that album project

2229
02:01:36,600 --> 02:01:38,200
Speaker 1: and a few of the things he had going on.

2230
02:01:38,400 --> 02:01:40,560
Speaker 1: He did Complation DVD at the time of my can't

2231
02:01:40,560 --> 02:01:43,600
Speaker 1: he years and we're pulling all this together now, just stop?

2232
02:01:43,640 --> 02:01:45,520
Speaker 1: That would sort of be it. He got away for

2233
02:01:45,520 --> 02:01:48,520
Speaker 1: a few years, but then we really got into it

2234
02:01:48,520 --> 02:01:51,280
Speaker 1: and we started getting creative because he one thing he said,

2235
02:01:51,280 --> 02:01:54,200
Speaker 1: and the first meeting was he said, I hate getting bored.

2236
02:01:55,440 --> 02:01:57,840
Speaker 1: I hate it. I still always want to be fair,

2237
02:01:57,920 --> 02:02:02,800
Speaker 1: ideas and stimulating. All these things resonated to the point

2238
02:02:02,880 --> 02:02:04,920
Speaker 1: where I started looking back, Oh, he hasn't want a

2239
02:02:04,960 --> 02:02:06,800
Speaker 1: Grammy in twenty years, and why is that? You know?

2240
02:02:06,840 --> 02:02:08,800
Speaker 1: And well I started doing all these things and then

2241
02:02:08,840 --> 02:02:11,640
Speaker 1: we since one about fifteen grammy since I've worked with him,

2242
02:02:11,680 --> 02:02:14,640
Speaker 1: you know. So it's like we just changed the course

2243
02:02:15,880 --> 02:02:19,000
Speaker 1: and the energy behind what he was doing, you know,

2244
02:02:19,160 --> 02:02:22,560
Speaker 1: and again making sure that the PR was on point.

2245
02:02:22,840 --> 02:02:24,880
Speaker 1: And I learned that with him, how we do things

2246
02:02:24,880 --> 02:02:27,520
Speaker 1: that are great and interesting. I think the first piece

2247
02:02:27,520 --> 02:02:29,280
Speaker 1: of PR I made him do when I work with

2248
02:02:29,360 --> 02:02:33,960
Speaker 1: him was a Pitchfork interview when Pitchfork was very different,

2249
02:02:34,040 --> 02:02:36,280
Speaker 1: still run by Ryan back then, you know, and this

2250
02:02:36,440 --> 02:02:40,560
Speaker 1: is two thousands seven six, and you know, and I thought,

2251
02:02:40,680 --> 02:02:42,560
Speaker 1: this is why we should do it. You would never

2252
02:02:42,600 --> 02:02:44,120
Speaker 1: talk to them and they would never think of talking

2253
02:02:44,160 --> 02:02:46,920
Speaker 1: to you. And remember, Colin Ryanson, what do you think

2254
02:02:46,920 --> 02:02:48,920
Speaker 1: about this? He went, we really get to talk to him. Me,

2255
02:02:49,040 --> 02:02:51,080
Speaker 1: you really get to talk to him? Oh, hell yeah,

2256
02:02:51,080 --> 02:02:54,400
Speaker 1: we're in and that just and that just traveled and

2257
02:02:54,440 --> 02:02:56,640
Speaker 1: he loved that interview and he still refers to that

2258
02:02:56,680 --> 02:02:59,240
Speaker 1: interview today. So it's just thinking, how do we do

2259
02:02:59,360 --> 02:03:01,960
Speaker 1: things he hasn't before? That was like me, but I'm

2260
02:03:01,960 --> 02:03:04,320
Speaker 1: probably gonna get fired after this one. He's never done

2261
02:03:04,320 --> 02:03:06,400
Speaker 1: an in store, you know, so let's do the in store.

2262
02:03:06,960 --> 02:03:09,160
Speaker 1: And then we got Grammy nominated from the twelve inch final,

2263
02:03:09,200 --> 02:03:11,000
Speaker 1: were released from it and things like that. You know,

2264
02:03:11,120 --> 02:03:13,040
Speaker 1: it's a didn't win the Grammy, but at least we've

2265
02:03:13,040 --> 02:03:15,320
Speaker 1: got nominated. So we did a bunch of fun things.

2266
02:03:15,920 --> 02:03:17,680
Speaker 1: You know, he's one of the biggest also on the planet.

2267
02:03:17,680 --> 02:03:20,080
Speaker 1: How do we go to do things that's on the ground,

2268
02:03:20,560 --> 02:03:23,320
Speaker 1: pool it right back down and then rebuild it back up.

2269
02:03:24,200 --> 02:03:26,920
Speaker 1: That was really really good fun. And he was always

2270
02:03:26,920 --> 02:03:30,280
Speaker 1: open to ideas, always open, never shot him down, didn't

2271
02:03:30,280 --> 02:03:32,240
Speaker 1: say yes all the time, but it was all be

2272
02:03:32,360 --> 02:03:34,520
Speaker 1: great idea, not for me or not for right now,

2273
02:03:34,600 --> 02:03:37,680
Speaker 1: but great idea. And it was really healthy dialogue. So

2274
02:03:38,040 --> 02:03:42,880
Speaker 1: again I'm done year sixty, so happy, heavenly fired yet, Wow,

2275
02:03:43,320 --> 02:03:45,840
Speaker 1: this has been fantastic. Scott I wanted to thank you

2276
02:03:45,880 --> 02:03:48,720
Speaker 1: for all the time you've taken for those who were

2277
02:03:48,760 --> 02:03:50,800
Speaker 1: in the trenches of the business and for those on

2278
02:03:50,840 --> 02:03:53,400
Speaker 1: the outside. This is really quite a primer of what's

2279
02:03:53,400 --> 02:03:57,240
Speaker 1: going on. Certainly demonstrates how you have your feet both

2280
02:03:57,240 --> 02:04:01,080
Speaker 1: on the ground and in the cyber world. So thanks

2281
02:04:01,080 --> 02:04:03,360
Speaker 1: so much for taking the time, Scott, Thank you, Bob,

2282
02:04:03,400 --> 02:04:06,240
Speaker 1: thanks for inviting me. You good to chat, been long overdue,

2283
02:04:06,440 --> 02:04:09,400
Speaker 1: and hopefully see each other in person at some point. Okay,

2284
02:04:09,400 --> 02:04:14,040
Speaker 1: just one question. You had this insane accident where you

2285
02:04:14,160 --> 02:04:18,440
Speaker 1: were hit. How are you doing. How's your body doing? Yeah,

2286
02:04:18,560 --> 02:04:21,880
Speaker 1: I get hit faced on by car. I'm doing it

2287
02:04:21,920 --> 02:04:24,840
Speaker 1: other than my knees at one surgery. Didn't do the

2288
02:04:24,880 --> 02:04:27,280
Speaker 1: second surgery because I didn't like the feeling of the

2289
02:04:27,280 --> 02:04:31,240
Speaker 1: first surgery. Doesn't feel that great. So but I'm good.

2290
02:04:31,800 --> 02:04:35,839
Speaker 1: Train every day except on place. And just one more question,

2291
02:04:36,240 --> 02:04:39,960
Speaker 1: to what degree has your attention to business affected your

2292
02:04:40,080 --> 02:04:44,960
Speaker 1: personal life, relationships, etcetera. I think and do what we do,

2293
02:04:45,400 --> 02:04:48,840
Speaker 1: it's always going to affect him because and I'm trying

2294
02:04:48,880 --> 02:04:53,520
Speaker 1: to get that balance right between you know, pre COVID.

2295
02:04:53,640 --> 02:04:58,120
Speaker 1: I think I did a hundred thirty five flights back

2296
02:04:58,120 --> 02:05:01,280
Speaker 1: cut down to about forty last year, who's back up

2297
02:05:01,400 --> 02:05:04,440
Speaker 1: about eighty, you know, And I'm trying not to get

2298
02:05:04,480 --> 02:05:08,080
Speaker 1: it to a point where I'm on a plane every

2299
02:05:08,120 --> 02:05:11,360
Speaker 1: other day. You know, I love what I do. I

2300
02:05:11,440 --> 02:05:14,320
Speaker 1: love the people that I work with. I love my team.

2301
02:05:14,440 --> 02:05:17,560
Speaker 1: The artists are phenomenal. I couldn't ask to work with

2302
02:05:17,680 --> 02:05:21,360
Speaker 1: better artists. So I'm really really lucky with regards of that.

2303
02:05:22,040 --> 02:05:23,800
Speaker 1: I'm not trying to let all the people in my

2304
02:05:23,840 --> 02:05:25,720
Speaker 1: team who have been with me so long, who are

2305
02:05:25,760 --> 02:05:28,839
Speaker 1: so great, they can do a lot more of the traveling.

2306
02:05:29,040 --> 02:05:31,240
Speaker 1: They can do a lot more FaceTime. I know exact

2307
02:05:31,240 --> 02:05:33,600
Speaker 1: place when I have to be somewhere and then I'm there.

2308
02:05:33,920 --> 02:05:36,480
Speaker 1: But I'm trying to find that balance where I actually

2309
02:05:36,560 --> 02:05:38,120
Speaker 1: don't have to be in a plane. I say this,

2310
02:05:38,320 --> 02:05:41,400
Speaker 1: but you know, you know, we could multiple shows, some

2311
02:05:41,480 --> 02:05:43,200
Speaker 1: in the same city in the next couple of weeks,

2312
02:05:43,200 --> 02:05:45,520
Speaker 1: and I'm in Atlanta and in Vegas and in l

2313
02:05:45,560 --> 02:05:48,000
Speaker 1: a butin three days. So you know, what I'm saying

2314
02:05:48,080 --> 02:05:49,880
Speaker 1: isn't really living up to what I'm trying to do.

2315
02:05:49,920 --> 02:05:53,080
Speaker 1: But I'm trying to slow down the pace and balance

2316
02:05:53,160 --> 02:05:56,680
Speaker 1: that sort of quality of life with quality of work

2317
02:05:56,880 --> 02:06:00,440
Speaker 1: and then since you mentioned shows in COVID, I mean Elton.

2318
02:06:00,880 --> 02:06:07,080
Speaker 1: Elton restarted his uh final tour, he immediately got COVID. Okay,

2319
02:06:07,200 --> 02:06:09,840
Speaker 1: the laws, certainly in America are different depending on what

2320
02:06:09,960 --> 02:06:14,240
Speaker 1: state you're in. There's been some super spreader events. You know,

2321
02:06:14,320 --> 02:06:16,280
Speaker 1: how do you decide to go on the road, what

2322
02:06:16,400 --> 02:06:19,160
Speaker 1: precautions do you take? What do you think what's gonna

2323
02:06:19,320 --> 02:06:22,240
Speaker 1: happen here in the next six months? Every every artist

2324
02:06:22,320 --> 02:06:25,640
Speaker 1: has different levels of there, that's how you put it.

2325
02:06:25,800 --> 02:06:28,120
Speaker 1: How strict they're going to be with the policy if

2326
02:06:28,120 --> 02:06:30,160
Speaker 1: you you know, there's something went round online with the

2327
02:06:30,200 --> 02:06:34,760
Speaker 1: deadening companies COVID policy, which was the strictest that I

2328
02:06:34,800 --> 02:06:38,600
Speaker 1: think we've seen. Finding balance what we've done on all

2329
02:06:38,680 --> 02:06:40,960
Speaker 1: shows from from October and I've been having a lot

2330
02:06:41,000 --> 02:06:44,240
Speaker 1: of big shows arena show since October last year, still running.

2331
02:06:45,760 --> 02:06:49,320
Speaker 1: We have a COVID protocol so on every tour, everybody

2332
02:06:49,320 --> 02:06:52,480
Speaker 1: going backstage has to be tested before we get in

2333
02:06:52,520 --> 02:06:55,880
Speaker 1: the room. That includes building staff. All building staff have

2334
02:06:55,960 --> 02:06:58,320
Speaker 1: to be vaccinated. Everybody in the touring on trash has

2335
02:06:58,360 --> 02:07:02,160
Speaker 1: to be vaccinated because of good a singer or you've

2336
02:07:02,160 --> 02:07:04,360
Speaker 1: got four guys in a band or whatever, happens to be.

2337
02:07:05,240 --> 02:07:08,080
Speaker 1: They go down, there's no show, so you have to

2338
02:07:08,160 --> 02:07:11,400
Speaker 1: keep them protected as best you can. Everyone has to

2339
02:07:11,440 --> 02:07:15,760
Speaker 1: wear masks backstage, but ensuring that you keep this backstage bubble.

2340
02:07:15,840 --> 02:07:19,520
Speaker 1: The only time the bubble breaks, it's down to the artice. Oh,

2341
02:07:19,680 --> 02:07:23,080
Speaker 1: my sisters coming in, my brother's coming in on my whatever,

2342
02:07:23,240 --> 02:07:26,560
Speaker 1: my auntie, my cousin, my Nick donaghbor's best friend, and

2343
02:07:26,640 --> 02:07:30,040
Speaker 1: people start coming backstage. They we want them all tested,

2344
02:07:30,120 --> 02:07:32,760
Speaker 1: We want them all vaccinated tested, you know, or to

2345
02:07:32,880 --> 02:07:35,080
Speaker 1: make sure that you're still trying to keep some kind

2346
02:07:35,120 --> 02:07:37,600
Speaker 1: of safety level, because that's the only way that the

2347
02:07:37,680 --> 02:07:40,920
Speaker 1: artist is kind to go down. Um. We had a

2348
02:07:40,960 --> 02:07:43,720
Speaker 1: big issue is the chelly through two nights of the

2349
02:07:43,760 --> 02:07:45,880
Speaker 1: Garden in December. You know, like then we had a

2350
02:07:45,920 --> 02:07:47,760
Speaker 1: few shows in Florida, like Miami and a couple of

2351
02:07:47,760 --> 02:07:50,640
Speaker 1: other shows. Time we got to the Garden, two guys

2352
02:07:50,640 --> 02:07:52,880
Speaker 1: in the video team, they were on a bus. Two

2353
02:07:52,960 --> 02:07:55,840
Speaker 1: of them went down. Managed to replace one of them,

2354
02:07:55,840 --> 02:07:57,880
Speaker 1: but not too often. Then the audio team started to

2355
02:07:57,880 --> 02:07:59,200
Speaker 1: go down to the other shows. We were on a

2356
02:07:59,200 --> 02:08:02,480
Speaker 1: skeleton staff from the very last show about the December.

2357
02:08:03,280 --> 02:08:05,440
Speaker 1: You know, it's because we couldn't hire people people didn't

2358
02:08:05,440 --> 02:08:07,640
Speaker 1: want to come up, catch COVID and be out for

2359
02:08:07,720 --> 02:08:11,160
Speaker 1: ten days for Christmas. So people we couldn't reheart staff.

2360
02:08:11,200 --> 02:08:13,120
Speaker 1: They went bell ill. They didn't want to be in

2361
02:08:13,160 --> 02:08:15,640
Speaker 1: a bus sleeping on a bus. Of other guys might

2362
02:08:15,680 --> 02:08:17,600
Speaker 1: have it because they've been exposed to the guy who

2363
02:08:17,600 --> 02:08:20,640
Speaker 1: did get it. That became really complicated, and that's how

2364
02:08:20,680 --> 02:08:23,560
Speaker 1: shows are going down. So I can see say, I

2365
02:08:23,560 --> 02:08:25,720
Speaker 1: don't know what happened with the Dell show in Vegas,

2366
02:08:25,720 --> 02:08:27,400
Speaker 1: no idea. I know as much as you know, and

2367
02:08:27,440 --> 02:08:29,560
Speaker 1: the next guy knows just from what you read. Well,

2368
02:08:29,680 --> 02:08:32,360
Speaker 1: I know that a lot of it's not public. Oh yeah, yeah,

2369
02:08:32,360 --> 02:08:35,920
Speaker 1: I'm sure. But what I feel is like genuinely you know,

2370
02:08:36,000 --> 02:08:38,800
Speaker 1: like if you aren't strict about it, as soon as

2371
02:08:38,880 --> 02:08:41,120
Speaker 1: someone in your audio team goes down and someone else

2372
02:08:41,120 --> 02:08:43,320
Speaker 1: goes down, there might be someone by No, that was

2373
02:08:43,360 --> 02:08:46,040
Speaker 1: all horseship. There was only one. There was only one person.

2374
02:08:46,040 --> 02:08:47,920
Speaker 1: It was an excuse. I mean, I'm not talking about

2375
02:08:47,920 --> 02:08:50,760
Speaker 1: your concept. But in the case of Adele, the concept

2376
02:08:50,800 --> 02:08:52,720
Speaker 1: is really the case of a Yeah, the case of

2377
02:08:52,760 --> 02:08:55,440
Speaker 1: a Dell, it was an excuse. But keep going. No,

2378
02:08:55,600 --> 02:08:58,520
Speaker 1: but that it's easy. Soon as some departments start to

2379
02:08:58,520 --> 02:09:01,720
Speaker 1: go down because those big shows is have the whole

2380
02:09:01,800 --> 02:09:05,040
Speaker 1: video team, they've got a whole electronics team, or you know,

2381
02:09:05,160 --> 02:09:07,880
Speaker 1: things that move on the stage. They got your projection team,

2382
02:09:08,000 --> 02:09:10,120
Speaker 1: you've got your lighting team, your audio team. Is a

2383
02:09:10,120 --> 02:09:12,960
Speaker 1: lot of staff there. As soon as they start to drop.

2384
02:09:12,960 --> 02:09:16,960
Speaker 1: If the key man goes the designer, director, the main

2385
02:09:17,000 --> 02:09:19,080
Speaker 1: sound engineer, who's the best guy in the world, he

2386
02:09:19,200 --> 02:09:21,760
Speaker 1: goes down, you can replace them, you know, you find

2387
02:09:21,760 --> 02:09:24,240
Speaker 1: someone else to go in. That's when shows can get

2388
02:09:24,240 --> 02:09:26,440
Speaker 1: in trouble when it's nothing to do with the autist.

2389
02:09:26,800 --> 02:09:30,080
Speaker 1: So these staff members, this is where it becomes complicated.

2390
02:09:30,120 --> 02:09:32,480
Speaker 1: Do you force everyone to stay in their hotels and

2391
02:09:32,520 --> 02:09:34,280
Speaker 1: not go out when you're a day off. They have

2392
02:09:34,320 --> 02:09:37,160
Speaker 1: to live in their hotel room to stay isolated, because

2393
02:09:37,200 --> 02:09:39,520
Speaker 1: if they've got the hotel bar, but hanging up with

2394
02:09:39,560 --> 02:09:41,840
Speaker 1: another guy. The two lighting guys are going for dinner

2395
02:09:41,880 --> 02:09:44,800
Speaker 1: somewhere because a great sushi restaurant. Oh but they caught

2396
02:09:44,800 --> 02:09:46,720
Speaker 1: it because they've been out and went for a drink

2397
02:09:46,800 --> 02:09:49,760
Speaker 1: at the bar before. Then that's the point. Do you

2398
02:09:49,840 --> 02:09:52,840
Speaker 1: not allow anyone to leave? They don't have to stay

2399
02:09:52,840 --> 02:09:55,720
Speaker 1: in their rooms to keep it pure. It's really tough

2400
02:09:56,520 --> 02:09:59,560
Speaker 1: and to what degree our acts hesitant to go out

2401
02:09:59,560 --> 02:10:02,640
Speaker 1: and work. I think the older officer perhaps hesitant to

2402
02:10:02,640 --> 02:10:04,520
Speaker 1: go out. And you see Aerosmith just canceled it. To

2403
02:10:05,200 --> 02:10:09,920
Speaker 1: think this week or wait last week? UM, yeah, I

2404
02:10:10,240 --> 02:10:13,280
Speaker 1: think I see a lot more shows being canceled. We're

2405
02:10:13,400 --> 02:10:17,120
Speaker 1: scheduling a bunch of things in Europe. They're definitely getting

2406
02:10:17,240 --> 02:10:19,800
Speaker 1: hit hard over there, harder than it feels in the US.

2407
02:10:21,120 --> 02:10:24,160
Speaker 1: But this late recent wave in the past couple of months,

2408
02:10:24,200 --> 02:10:30,800
Speaker 1: the kron uh you know, strain definitely was so yeah,

2409
02:10:30,840 --> 02:10:33,760
Speaker 1: that's probably the thing the worst we've seen, because it's

2410
02:10:33,800 --> 02:10:39,320
Speaker 1: so infectious um in comparison to previous strengths. UM. And

2411
02:10:39,400 --> 02:10:42,920
Speaker 1: my hope is it's hopefully starting to die off and

2412
02:10:43,240 --> 02:10:46,200
Speaker 1: go down, just the numbers of stating that, But then

2413
02:10:46,240 --> 02:10:49,120
Speaker 1: I'm sure not too far behind. It will be another string.

2414
02:10:49,680 --> 02:10:52,880
Speaker 1: How we keep navigating this? And how about yourself? Have

2415
02:10:53,120 --> 02:10:56,240
Speaker 1: you gotten COVID? You know what I did? I caught

2416
02:10:56,240 --> 02:11:00,080
Speaker 1: it second of ganguery. I've been all over covering a

2417
02:11:00,080 --> 02:11:02,160
Speaker 1: bunch of shows. I was in London, it was in

2418
02:11:02,200 --> 02:11:03,720
Speaker 1: New York, it was in d C. We did a

2419
02:11:03,720 --> 02:11:06,120
Speaker 1: show at the White House with Pcelli in l A

2420
02:11:06,520 --> 02:11:08,800
Speaker 1: I was on a plane. It felt like every other

2421
02:11:08,880 --> 02:11:15,160
Speaker 1: day in December. Got home. It's fine, fine for New Year,

2422
02:11:15,240 --> 02:11:18,120
Speaker 1: had lunch of friends the New Year's Day, walk up

2423
02:11:18,120 --> 02:11:21,640
Speaker 1: in the second in January through a little you know

2424
02:11:21,640 --> 02:11:24,400
Speaker 1: particularly but it's just just the cold, because we could

2425
02:11:24,400 --> 02:11:26,600
Speaker 1: forget that you can still get a cold. Just got

2426
02:11:26,600 --> 02:11:30,280
Speaker 1: tested and it was positive. Fortunately, you know, double jab

2427
02:11:30,720 --> 02:11:35,240
Speaker 1: with a booster. It was lighter than a head cold.

2428
02:11:35,600 --> 02:11:39,560
Speaker 1: You know, it's a little you know, block sign us. Um,

2429
02:11:39,600 --> 02:11:41,560
Speaker 1: it was co feeing a little bit, it was it

2430
02:11:41,600 --> 02:11:43,680
Speaker 1: was It's fine. I was working as a normal you know,

2431
02:11:43,760 --> 02:11:45,720
Speaker 1: just stay at home that first week in the year.

2432
02:11:45,760 --> 02:11:47,360
Speaker 1: So I feel like I'm glad I got out of

2433
02:11:47,360 --> 02:11:50,400
Speaker 1: the way. And if that is as bad as it

2434
02:11:50,440 --> 02:11:53,400
Speaker 1: will be for someone like me, then I'm okay with that.

2435
02:11:53,440 --> 02:11:57,360
Speaker 1: You know. Um yeah, still said that. I caught it.

2436
02:11:57,400 --> 02:11:58,760
Speaker 1: I felt like you see all these memes going to

2437
02:11:58,840 --> 02:12:01,920
Speaker 1: run with someone with beer and someone's like dodging, dodging, dodging.

2438
02:12:02,440 --> 02:12:04,240
Speaker 1: I felt like I was like, great, I've gone around

2439
02:12:04,240 --> 02:12:06,800
Speaker 1: the world, have been so many flights, I've skipped this thing.

2440
02:12:06,800 --> 02:12:10,400
Speaker 1: I've been everywhere, and then I felt like, where did

2441
02:12:10,400 --> 02:12:12,160
Speaker 1: I get that didn't go at any New Year's Eve

2442
02:12:12,200 --> 02:12:16,040
Speaker 1: events or parties around anything that was really good. Super quiet,

2443
02:12:16,080 --> 02:12:19,280
Speaker 1: mell time still caught. Wow, we can talk for days.

2444
02:12:19,280 --> 02:12:22,520
Speaker 1: We're gonna leave it here. We can, we can, we can. Okay,

2445
02:12:22,640 --> 02:12:24,760
Speaker 1: It's always great to talk to your Scott YouTube lo

2446
02:12:24,960 --> 02:12:27,600
Speaker 1: YouTube Till next time. This is Bob left Sex