WEBVTT - Scott Rodger 0:00:08.600 --> 0:00:12.480 Welcome, Welcome, Welcome back to the Bob Left Podcast. My 0:00:12.680 --> 0:00:17.560 guest today is manager extraordinaire Scott Roger, who looks after 0:00:17.640 --> 0:00:23.000 such acts as Paul McCartney, Shania Twain Andrea Bocelli. Scott, 0:00:23.079 --> 0:00:25.400 good to have you on the podcast. Thank you, Bald, 0:00:25.640 --> 0:00:28.159 nice to see you and hear you actually tell me 0:00:28.200 --> 0:00:32.560 who you're looking over completely in your management roster. Now, boy, 0:00:32.720 --> 0:00:35.080 we get a bunch of young development offists, you know, 0:00:35.159 --> 0:00:37.280 and that's something that i'd straight away from for a 0:00:37.280 --> 0:00:40.839 few years and really go back into. You know, we 0:00:40.960 --> 0:00:44.080 just signed just under a year ago that young twenty 0:00:44.159 --> 0:00:47.960 year old from Nashville coach Celia Castleman, who's working with 0:00:48.040 --> 0:00:52.239 Daniel Glass. Um. We did the album with Dona was 0:00:52.640 --> 0:00:55.600 in l A which was great with Peter and Palladino 0:00:56.040 --> 0:00:59.360 enable Boreal as her backing band. She plays guitar, so 0:00:59.400 --> 0:01:01.200 we made an and we just went a minute album. 0:01:01.240 --> 0:01:03.800 This is a kid who hasn't released a single thing. 0:01:03.880 --> 0:01:06.280 There's no social media. Well, well let's go back to 0:01:06.319 --> 0:01:08.640 the very beginning since we're going into detail. How did 0:01:08.680 --> 0:01:12.760 you find her? Daniel Glass? He emailed me and says, 0:01:13.160 --> 0:01:15.360 I found this girl. I think you might be interested 0:01:15.400 --> 0:01:19.440 in working with We just signed there and he sent 0:01:19.520 --> 0:01:22.840 the music and I thought it was great, and we 0:01:22.920 --> 0:01:26.080 arranged a zoom because this is still you know, through COVID, 0:01:27.319 --> 0:01:29.680 and she was so good. She played the song She's 0:01:29.680 --> 0:01:33.800 in the bedroom in her mom's house, UM, and I 0:01:33.800 --> 0:01:35.960 thought it was so good. I flew to Nashville about 0:01:36.000 --> 0:01:38.600 a week later to sit down with her to see 0:01:38.640 --> 0:01:41.880 if it was a real deal. And she's legitimately the 0:01:41.959 --> 0:01:45.240 real deal. Alison Cross found her because she knew her 0:01:45.280 --> 0:01:49.680 father her father, and then Allison referred her to her attorney, 0:01:49.680 --> 0:01:53.160 who looks after her own career. And then from there, 0:01:53.520 --> 0:01:57.400 the attorney sort of brought in publishing in label UM 0:01:57.440 --> 0:01:59.080 and we just jumped in and made an album. She 0:01:59.120 --> 0:02:01.640 had about forty so so we're gonna launch the first 0:02:01.680 --> 0:02:04.200 song in March. Daniel was telling me about this and 0:02:04.240 --> 0:02:06.000 telling me that he was putting a lot of money 0:02:06.000 --> 0:02:11.440 into the recording, more than usual. Was that your perspective, Yeah, definitely, 0:02:11.480 --> 0:02:14.160 because he he just signed it to little development EP 0:02:14.280 --> 0:02:18.960 deal and then everything naturally fell into place, you know, 0:02:19.280 --> 0:02:21.040 like we thought, can we make this a bit more 0:02:21.040 --> 0:02:22.880 of a story. You know, the way records used to 0:02:22.880 --> 0:02:25.280 be made, you know, instead of just going locally with 0:02:25.400 --> 0:02:29.000 some young natural producer, make a very nice record, no 0:02:29.080 --> 0:02:31.680 real story behind this. We took a time. We spent 0:02:31.720 --> 0:02:35.000 a good six months, and I sent a few tracks 0:02:35.000 --> 0:02:38.040 to Dawn because he's a friend, and and it was 0:02:38.040 --> 0:02:41.400 actually it's a serious recommendation. She's like, hey, you know, 0:02:41.480 --> 0:02:43.639 i'd love Done Wars. I'm like, you're twenty. How do 0:02:43.680 --> 0:02:47.440 you even know who Done War? Was it? You know? Um? 0:02:47.480 --> 0:02:49.360 But she's such an old soul. And I sent him 0:02:49.400 --> 0:02:51.160 to Dawn and don't call me the next day and 0:02:51.200 --> 0:02:53.920 he's like, how do you find these people? You know? 0:02:54.000 --> 0:02:57.679 This is amazing? Is this she really this good? He 0:02:58.000 --> 0:02:59.720 was kind of blown away by it. She can't be 0:02:59.800 --> 0:03:03.560 this good. I never do new projects ever, you know. 0:03:04.040 --> 0:03:07.760 And and that's where the conversation stuff. Cecilia went to 0:03:07.800 --> 0:03:11.000 meet Don, who was in Detroit at the time, and 0:03:11.360 --> 0:03:13.080 they hit it off and he's like, let's just do 0:03:13.160 --> 0:03:16.760 the album. And from there you pool every favor young artists, 0:03:16.800 --> 0:03:20.200 low budget, the team enhanced the studios who I love 0:03:20.639 --> 0:03:23.440 Farrel who who runs the studio. She went, oh, we'll 0:03:23.480 --> 0:03:25.600 well we'll cut your deal. You know, we've got this time, 0:03:25.600 --> 0:03:29.000 and this time we'll do half rights. She made so 0:03:29.040 --> 0:03:32.520 many friends, she got she'd never left Nashville. She went 0:03:32.600 --> 0:03:37.200 to l A with her mom, started recording John Mayer's 0:03:37.200 --> 0:03:38.960 there the first day and she texts me sure, Oh 0:03:39.000 --> 0:03:41.320 my god, I'm just make John Mayer. You know. It's like, 0:03:41.360 --> 0:03:43.800 I love John Mayr. He's so amazing. And John Mayer's like, hey, 0:03:43.840 --> 0:03:45.480 you want to use any of my guitars, you know, 0:03:45.560 --> 0:03:48.440 feel free just come in and help yourself, you know. 0:03:48.600 --> 0:03:52.240 And the whole sessions ended up being like that, to 0:03:52.280 --> 0:03:54.440 the point where Fario, who runs the studio, is like 0:03:54.800 --> 0:03:56.640 being my husband. We love her. If she ever need 0:03:56.640 --> 0:03:58.120 to spend time in l A, she can stay at 0:03:58.120 --> 0:04:01.160 our house. Everyone had met her, just felling up us girl. 0:04:01.960 --> 0:04:05.000 So it all felt very natural. Even though Daniel spent 0:04:05.040 --> 0:04:07.120 a bit more than he wanted to, it all felt 0:04:07.120 --> 0:04:09.880 really natural. Okay, so now the record is done in 0:04:09.920 --> 0:04:13.280 a completely changed world. What are the next steps? How 0:04:13.320 --> 0:04:15.640 do you make people aware of her? How do you 0:04:15.680 --> 0:04:18.120 grow her career? This? You know this, this used to 0:04:18.120 --> 0:04:19.880 be when I was a kid, This is this was 0:04:19.920 --> 0:04:22.479 the job. How do you find a new artist and 0:04:22.520 --> 0:04:25.920 how do you break them? And times have changed over 0:04:26.000 --> 0:04:28.240 thirty years or so since I've been doing this. It's 0:04:28.279 --> 0:04:31.159 no longer the same as the hustle is different. Everything 0:04:31.240 --> 0:04:34.400 is different. She's got to find friends at DSPs. We 0:04:34.520 --> 0:04:37.279 gotta literally old school and get her in a car 0:04:37.360 --> 0:04:40.000 and drive around and go and do little sessions and 0:04:40.040 --> 0:04:43.280 go on do you know whatever radio that we can 0:04:43.320 --> 0:04:45.560 get her into, just to try and get some music 0:04:45.600 --> 0:04:49.239 out there, start working on social presence and do some videos, 0:04:49.320 --> 0:04:52.800 just real least get content out there. We hope we'll 0:04:52.839 --> 0:04:57.880 get some support from not only YouTube, but Apple and Spotify, Amazon, 0:04:58.240 --> 0:05:00.080 just to stead of giving a little poosh, give a 0:05:00.120 --> 0:05:03.919 little profile, get her own some appropriate playlists. You know, 0:05:04.000 --> 0:05:06.919 it's not country. She's from Nashville, but it's not country. 0:05:07.440 --> 0:05:13.560 You know, it's it's got a real modern feel to it. 0:05:13.600 --> 0:05:16.520 But she could you know, she's so influenced by people 0:05:16.520 --> 0:05:19.000 like Steve Nicks and Fluwood, Macs of the world, and 0:05:19.520 --> 0:05:21.719 it's got that a bit of that flavor. This record 0:05:21.720 --> 0:05:25.159 could have been made in n Yeah, yeah, yeah. You 0:05:25.200 --> 0:05:27.800 can tell the technology that's in there that it's made today. 0:05:28.120 --> 0:05:30.400 So as you say, you know, the business really changed 0:05:30.839 --> 0:05:34.479 in this century with the advent of the Internet. Give 0:05:34.520 --> 0:05:39.080 me the hierarchy of and this includes both old acts 0:05:39.120 --> 0:05:41.640 and brand new acts, and they may not be identical. 0:05:42.320 --> 0:05:46.040 What has the most power and exposing an act the 0:05:46.040 --> 0:05:48.440 most power and exposing an act if you and again 0:05:48.480 --> 0:05:51.160 as you said, whether you're a brand new office or 0:05:52.080 --> 0:05:55.400 you're the most established office, most successful artist, what has 0:05:55.480 --> 0:05:59.640 the most power? I think it changes was genre, Bob, 0:06:00.120 --> 0:06:03.680 And you know this. You've been a music fan, you know, 0:06:03.920 --> 0:06:06.719 your entire life. And when when you think when you 0:06:06.800 --> 0:06:10.159 were fifteen years old to twenty years old, you loved 0:06:10.279 --> 0:06:13.920 whatever was popular. Whoever that was, was the Stones and 0:06:13.920 --> 0:06:16.479 the Beatles, and who was it Led zeppel In, the 0:06:16.520 --> 0:06:20.719 Symphonies or whatever it was. The biggest music throughout every 0:06:20.760 --> 0:06:24.000 era has been pop music, same as today. You know, 0:06:24.120 --> 0:06:27.240 the most of the biggest consumers of teenagers and young people, 0:06:27.640 --> 0:06:30.000 they're the ones who consume all the Drake or Kanye 0:06:30.080 --> 0:06:34.760 or Taylor Swift or or you know anything that's huge. 0:06:35.279 --> 0:06:37.159 It just they just need to put a song out 0:06:37.400 --> 0:06:40.799 and it goes. It just goes. It's got a life 0:06:40.800 --> 0:06:43.280 of its own. As soon as they drop. They tell 0:06:43.320 --> 0:06:46.680 everyone on social media, you track dropping today, and it 0:06:46.880 --> 0:06:50.320 just goes. They have their own legs. But then that's 0:06:50.320 --> 0:06:54.039 pop music throughout the ages. You know, everyone would wait 0:06:54.120 --> 0:06:56.800 for the new big thing. And again it could have 0:06:56.800 --> 0:07:00.520 been anything through any era pop music because its always 0:07:00.560 --> 0:07:04.839 been the biggest music. It's probably consumed ninety plus percent 0:07:05.080 --> 0:07:09.279 of the world's music market, pretty similar today. So to 0:07:09.320 --> 0:07:13.239 put an artice who isn't in that genre, they could 0:07:13.280 --> 0:07:16.840 be a rock band, they could be sort of a 0:07:16.920 --> 0:07:20.880 more independent type, you know, avant garde style band or 0:07:21.000 --> 0:07:25.800 or singer. Um. They don't have the mass consumption that 0:07:25.880 --> 0:07:30.080 pop music has. We still need to support of the 0:07:30.160 --> 0:07:34.880 Amazon's Spotify is all the DSPs, But that's not answering 0:07:34.960 --> 0:07:38.200 your questions, like is there one thing. I don't think 0:07:38.240 --> 0:07:40.400 there is one thing. It seems to be the sum 0:07:40.400 --> 0:07:43.800 of a thousand different small things that only to be 0:07:43.840 --> 0:07:46.800 happening at the same time. But more importantly than that, 0:07:47.520 --> 0:07:51.360 it's like when you're socializing with friends, family, or having 0:07:51.360 --> 0:07:54.200 a cup of coffee with someone just catching up, you'll 0:07:54.200 --> 0:07:57.440 talk about things like great movie, you've just seen a 0:07:57.560 --> 0:08:00.520 great series, and you know what, what have you been 0:08:00.560 --> 0:08:03.400 listening to? Uh? What book of you just youve got 0:08:03.400 --> 0:08:05.720 to read this book. It's amazing. The word of mouth 0:08:05.840 --> 0:08:09.480 is so important. And what I find is with every artist, 0:08:10.240 --> 0:08:12.680 I work with because I don't really work with the 0:08:12.720 --> 0:08:15.720 young pop artists, the artists that I wish I worked 0:08:15.720 --> 0:08:18.320 with a Taylor Swift or a Drake or you know 0:08:18.720 --> 0:08:20.680 one of those arts where you just drop Beyonce, that 0:08:20.760 --> 0:08:23.320 you drop a song and it just goes boom and 0:08:23.400 --> 0:08:26.200 that's the job is done. But I don't work with 0:08:26.240 --> 0:08:28.280 anyone like that. So it's how do you get in 0:08:28.280 --> 0:08:31.720 the conversation? You know, I find that's the most important 0:08:31.760 --> 0:08:34.360 thing because if you're you know, you're sitting having sort 0:08:34.360 --> 0:08:36.640 of lunch with three or four friends, and if you're 0:08:36.679 --> 0:08:40.840 in that conversation, did you see the new video by whoever? 0:08:41.440 --> 0:08:44.679 Did you hear that new song? It's incredible? Or did 0:08:44.760 --> 0:08:48.079 you see something that they did whatever was creative and marketing, 0:08:48.480 --> 0:08:52.000 the visual, the artwork, Oh the artwork was done by Stone, 0:08:52.040 --> 0:08:54.319 So isn't that amazing? How did that happen? How do 0:08:54.360 --> 0:08:57.200 you get in the conversation, whatever way in you're gonna take, 0:08:57.280 --> 0:09:00.400 you have to be in the conversation with the brand 0:09:00.440 --> 0:09:04.360 new act. What is it like with your interaction with 0:09:04.400 --> 0:09:08.080 the DSPs? What are you looking for from them? What 0:09:08.120 --> 0:09:11.600 do you want in a perfect world? Well, you know what, 0:09:11.920 --> 0:09:14.680 I think all of the DSPs, it's like the old 0:09:14.760 --> 0:09:17.160 kidney candy store analogy. You know you love candy, you 0:09:17.200 --> 0:09:18.600 walk in the candy store, you have no idea what 0:09:18.640 --> 0:09:22.640 you want to have, and DSPs feel like that. For 0:09:22.960 --> 0:09:26.360 most people. You're very different and very different. I know 0:09:26.480 --> 0:09:28.360 exactly what I wanted to want to go in there. 0:09:28.640 --> 0:09:31.160 Most of the time, it's still good to find things 0:09:31.240 --> 0:09:34.280 on curative playlists that you may not have known but 0:09:34.320 --> 0:09:36.679 you actually like, and it's been a great way to discover. 0:09:37.160 --> 0:09:40.160 I think most people are still of the playlist mentality. 0:09:40.360 --> 0:09:42.400 You know, they're like a genre music, so they're quite 0:09:42.400 --> 0:09:45.840 happy to listen to playlists that features that genre, whatever 0:09:45.840 --> 0:09:48.720 that genre happens to be. So I think for new 0:09:48.840 --> 0:09:53.120 artists the playlist concept is so vital. It's a great 0:09:53.120 --> 0:09:55.520 way to introduce someone who's never going to go in 0:09:55.640 --> 0:09:58.440 that store and choose your song. You've got to present 0:09:58.520 --> 0:10:00.800 it to. Okay, let's go a little bit deeper in 0:10:00.840 --> 0:10:06.400 the weeds. You're talking to one of these uh streaming companies. 0:10:07.200 --> 0:10:10.760 How hard is it to get on a playlist? How 0:10:10.800 --> 0:10:14.240 many playlists will they put you on? And then there's 0:10:14.320 --> 0:10:17.720 issues of you know, save rates, tell us you know 0:10:19.080 --> 0:10:21.559 how you get to the point where you have some traction. 0:10:22.000 --> 0:10:25.720 This is where it becomes a global issue because you know, 0:10:25.840 --> 0:10:29.400 the great playlists in France or Germany, or Italy or 0:10:29.400 --> 0:10:33.160 Sweden or Australia very different to what they are in 0:10:33.200 --> 0:10:37.200 the UK or the US. Every country is that localized. 0:10:37.440 --> 0:10:40.320 Don't one the playlists. So it ends up being a 0:10:40.360 --> 0:10:42.959 task that you got to go around the world exactly 0:10:43.240 --> 0:10:45.079 excuse me as we're doing now on Zoom. You know, 0:10:45.120 --> 0:10:48.360 we do constantly we're on zooms with territory of the 0:10:48.480 --> 0:10:51.480 territory of the territory and trying to find out what 0:10:51.640 --> 0:10:54.559 they need to do, what they you know, to in 0:10:54.679 --> 0:10:57.360 order to achieve set up in these art results. A 0:10:57.360 --> 0:10:59.160 lot of times they may want to bring us in 0:10:59.280 --> 0:11:01.880 from management on a call with a Spotify or an 0:11:01.880 --> 0:11:05.040 Apple or whoever happens to be or a Deezer, and 0:11:05.120 --> 0:11:07.480 you know, all all these companies, and it's trying to 0:11:07.520 --> 0:11:10.680 find your friends, find people who actually believe in the artist. 0:11:10.920 --> 0:11:13.520 Then they want to help. It's it's it's it's like 0:11:13.559 --> 0:11:16.840 you're doing the sales pitch. And for the most part, 0:11:16.920 --> 0:11:18.360 you know, we have a lot of friends now in 0:11:18.480 --> 0:11:20.520 these companies and we can go to these friends and 0:11:20.520 --> 0:11:23.760 try and ask them for support because they know we're established. 0:11:23.920 --> 0:11:26.760 What we have is legitimate. We're not coming in cold, 0:11:27.040 --> 0:11:29.280 We're coming in with a track record, and we sort 0:11:29.320 --> 0:11:32.000 of not asking for the world. We'll try and isolate 0:11:32.040 --> 0:11:34.760 where we want to be. Can we can you please 0:11:34.800 --> 0:11:36.559 just try and get us on this. We know we're 0:11:36.559 --> 0:11:39.240 not going to get music Friday on Spotify for example. 0:11:39.600 --> 0:11:41.560 You know that may be further down the line, but 0:11:41.640 --> 0:11:44.640 initially it's like, let's see where we need to place 0:11:44.760 --> 0:11:48.160 this artist. Let's isolate the key playlist that we feel 0:11:48.160 --> 0:11:50.520 would be appropriate. Then we've got to try and get 0:11:50.559 --> 0:11:53.640 on them. Some of those playlists are curated by the company. 0:11:53.800 --> 0:11:57.360 Some of those playlists are curated by individuals you know, 0:11:57.440 --> 0:11:59.240 And then that's where you need to label help because 0:11:59.240 --> 0:12:01.160 a lot of the time they know a lot of 0:12:01.200 --> 0:12:04.160 these people because they've solicited music to them before, and 0:12:04.200 --> 0:12:06.760 maybe they have a track record with those people. It's 0:12:06.880 --> 0:12:09.920 it's the workload, I think for a manager. And you'll 0:12:09.960 --> 0:12:12.320 probably hear this from a lower manager of friends of 0:12:12.360 --> 0:12:15.160 yours or people you talk to the workload from saying 0:12:15.160 --> 0:12:18.080 when I was a kid working for managers versus what 0:12:18.240 --> 0:12:22.520 managers have to do now two different jobs. Two different jobs. 0:12:23.080 --> 0:12:25.240 You can never I don't think you can never achieve 0:12:26.000 --> 0:12:28.440 if you've got a checklist of everything you have to achieve. 0:12:28.559 --> 0:12:31.040 If you're releasing a record, you can never do. By 0:12:31.040 --> 0:12:34.880 the time the records are the job doesn't end. Okay. 0:12:34.960 --> 0:12:39.600 These streaming services provide a lot of artists data. So 0:12:40.640 --> 0:12:43.080 to what degree do you look at that data and 0:12:43.160 --> 0:12:46.240 does it affect your game? I think that depends on 0:12:46.320 --> 0:12:49.960 the size of the office. I find that really really 0:12:50.000 --> 0:12:53.960 useful with the larger office because you can focus on 0:12:54.040 --> 0:12:57.840 certain areas um and then the areas where nothing's happening. 0:12:57.840 --> 0:12:59.280 You know. Okay, we've got to put a bit of 0:12:59.280 --> 0:13:03.520 weight over here for a young artists. And it's someone 0:13:03.640 --> 0:13:06.040 like we're talking about Cecilia, who hasn't put a record out, 0:13:06.840 --> 0:13:10.079 so there's zero data on her. So I think it's 0:13:10.120 --> 0:13:13.320 just going to be interesting and how we act on 0:13:13.360 --> 0:13:15.400 as two different you know another thing. You know, you 0:13:15.440 --> 0:13:17.320 get the data, what do we do with that data? 0:13:17.600 --> 0:13:19.319 You know, we just want to see, Oh, is there 0:13:19.440 --> 0:13:22.640 people you know, as the New York there's graviting towards 0:13:22.640 --> 0:13:24.720 her but nowhere else or is it just the coast, 0:13:25.360 --> 0:13:26.920 or is it maybe in the in the South. Maybe 0:13:26.960 --> 0:13:29.400 it's just naturally if everything, so, it's going to be 0:13:29.480 --> 0:13:32.559 really interesting to see what comes back. Then at that point, 0:13:32.720 --> 0:13:35.280 we still know what kind of office we have or 0:13:35.280 --> 0:13:37.760 where people are. You know, is she being played on 0:13:37.920 --> 0:13:40.640 rock and alternative or should be being played on sort 0:13:40.679 --> 0:13:45.560 of you know, more sort of the middle of the 0:13:45.640 --> 0:13:47.800 road type stations or is it she going to get 0:13:47.840 --> 0:13:50.200 in some country stations? And maybe the cover song. We 0:13:50.280 --> 0:13:52.880 have no idea how this is going to pick up. 0:13:53.280 --> 0:13:55.120 So that's where the data is interesting because it sort 0:13:55.120 --> 0:13:56.640 of tells you where you are and where you've got 0:13:56.640 --> 0:13:59.640 to focus. Um, you know, if we get the heat map, 0:13:59.760 --> 0:14:01.360 you know, and terrist, she's not just in the US, 0:14:01.440 --> 0:14:04.080 but around the world, you know, because these things can break. 0:14:04.080 --> 0:14:06.559 Oh this thing is breaking out of France. Well, how 0:14:06.559 --> 0:14:09.200 did that happen? Then you gotta figure out how it happened, 0:14:09.559 --> 0:14:11.120 and then you gotta go there and you've gotta chase 0:14:11.200 --> 0:14:13.520 that one. And if it breaks in one place, you know, 0:14:13.600 --> 0:14:16.640 you can mirror it elsewhere, you know, And that's kind 0:14:16.640 --> 0:14:19.920 of again. I never thought I would get into trying 0:14:19.920 --> 0:14:22.880 to break a brand new artists from zero again until 0:14:22.920 --> 0:14:25.040 I heard this music. But you I'm a music fan, 0:14:25.560 --> 0:14:27.920 heard the music, so this isn't a way to make 0:14:27.920 --> 0:14:30.200 a living, you know. So we're definitely not doing it 0:14:30.280 --> 0:14:32.440 to every quick you know. And I say, it's coming 0:14:32.480 --> 0:14:34.400 back to why are we doing this in the first place? 0:14:34.440 --> 0:14:38.160 Because the music is great. She's legitimate, she's the real deal, 0:14:38.320 --> 0:14:40.800 she's a real artist. She didn't just write a one 0:14:40.840 --> 0:14:42.760 off pop song that we think we can chase and 0:14:42.800 --> 0:14:46.720 make a hit, you know. So it's trying to remind yourselves. 0:14:46.840 --> 0:14:50.120 Are people that work with me, we're all music fans, 0:14:50.160 --> 0:14:52.520 as like, why are we doing this? Let's do with this. 0:14:52.840 --> 0:14:55.040 We're not going to earn a penny for years, if 0:14:55.040 --> 0:14:57.520 we ever earned anything, but it's the right thing to do. 0:14:57.880 --> 0:15:02.880 In these various as of the stool. How important is 0:15:03.000 --> 0:15:06.320 television today? Into what degree do you put attention in 0:15:06.360 --> 0:15:13.640 that area? We keep analyzing that and discussing that internally. Um, 0:15:13.840 --> 0:15:16.440 during the late nights, you know, all of the late nights, 0:15:16.520 --> 0:15:19.160 without even naming any of them, they're all good fun, 0:15:19.440 --> 0:15:23.080 they're great. You really don't get much from them with 0:15:23.200 --> 0:15:26.880 your music unless you're doing something there's some kind of 0:15:26.920 --> 0:15:30.760 gimmick production gimmick you know, or your your you know, 0:15:30.800 --> 0:15:33.440 the artist has created something where it may go viral 0:15:33.480 --> 0:15:36.840 and it lives online after the performance. But the actual 0:15:36.960 --> 0:15:39.440 sort of look at their ratings on all these shows, 0:15:39.880 --> 0:15:43.000 who watches them? Are they? You know? How real are 0:15:43.000 --> 0:15:45.920 those ratings? Are people really watching to the last five 0:15:45.960 --> 0:15:47.520 minutes of the show when an artist is going to 0:15:47.560 --> 0:15:49.960 put a song on. I don't know about that. I 0:15:50.040 --> 0:15:53.320 really don't know. He used to be such an important tool. 0:15:54.360 --> 0:15:56.480 Now I think it's one of those things unless you 0:15:56.520 --> 0:16:00.200 can make it viral, unless you can create something that's 0:16:00.200 --> 0:16:03.440 a little different and again create a talking point where 0:16:03.960 --> 0:16:05.680 we sto down, we have a coffee, they're like, oh, 0:16:05.880 --> 0:16:08.240 did you see your selling so on Jimmy fallon last night? 0:16:08.280 --> 0:16:10.400 You know, I see, You've gotta watch it because this happened. 0:16:10.760 --> 0:16:12.280 Then you go online and you'll look it up, and 0:16:12.840 --> 0:16:15.440 you will you'll take a look. That's the only way 0:16:15.440 --> 0:16:18.040 that sort are really resonating, or if there's some kind 0:16:18.040 --> 0:16:22.840 of stunt value to it. UM Saturday Night Live seems 0:16:22.880 --> 0:16:26.120 to be the one that still really really need something. 0:16:27.040 --> 0:16:30.640 UM that shows so many highs and lows over the 0:16:30.640 --> 0:16:33.320 past most been on for five years, has been on there. 0:16:34.000 --> 0:16:36.440 You know, so many highs and lows. At some point 0:16:36.480 --> 0:16:38.160 everyone thought, but this is the show is gonna end. 0:16:38.160 --> 0:16:40.600 It's not going to be relevant anymore. Then Boy comes 0:16:40.640 --> 0:16:43.360 back on the newcast and it's on top again. That 0:16:43.440 --> 0:16:46.280 show is still absolutely resonating. That's the one that everyone 0:16:46.320 --> 0:16:48.760 wants to try and get on, you know, but that 0:16:48.880 --> 0:16:51.400 they are always smart with what they book, unless there's 0:16:51.400 --> 0:16:53.520 someone who drops out last minute because of COVID, you know, 0:16:53.560 --> 0:16:56.440 which has been happening lately. You know, they're not getting 0:16:56.440 --> 0:16:58.600 the artists that they wanted. They had someone book for 0:16:58.760 --> 0:17:02.040 models and then they drop um. So that one still 0:17:02.120 --> 0:17:06.400 really really means something um. But then you go internationally, 0:17:06.560 --> 0:17:09.320 what else means something? Not a lot of the TV 0:17:09.600 --> 0:17:11.600 none of it really means what it used to mean 0:17:11.720 --> 0:17:15.119 unless you can make it something making something special. So 0:17:15.160 --> 0:17:18.119 what I'm finding is like with the bigger artists, you 0:17:18.200 --> 0:17:19.960 need to try and come up with something that's almost 0:17:19.960 --> 0:17:23.960 like an artist special. Can you make something that's just 0:17:24.200 --> 0:17:27.560 different from the norm. Can you make something that's artists 0:17:27.600 --> 0:17:30.400 in conversation with someone you know, like try and get 0:17:30.440 --> 0:17:33.520 a BBC or an NBC or another network to get 0:17:33.560 --> 0:17:36.600 them bored. And so you've given fans something a little 0:17:36.640 --> 0:17:40.560 bit richer than just use one song from a new album. 0:17:40.760 --> 0:17:44.280 Never gonna work. But yet it's still something you do 0:17:44.359 --> 0:17:47.600 because you know, this is that they are of marketing. 0:17:47.600 --> 0:17:49.520 If marketing is a science, you know, we don't know 0:17:49.560 --> 0:17:52.359 how to do it when we throw everything at the wall. Okay, 0:17:52.480 --> 0:17:55.080 we're going to do the cover of Billboards so that 0:17:55.119 --> 0:17:57.879 the industry knows what we're doing. And we're gonna do, 0:17:57.920 --> 0:17:59.840 you know, try and get the cover of Rolling Stone. 0:18:00.040 --> 0:18:02.320 Doesn't really mean anything, but we're gonna do it anyway, 0:18:02.800 --> 0:18:04.880 you know. And we're gonna do Jimmy Fallon and we're 0:18:04.920 --> 0:18:07.399 gonna try and get set in that live. And we've 0:18:07.440 --> 0:18:09.720 spent all this money in advertising and all the key 0:18:09.760 --> 0:18:11.760 markets and stuff, and you started throwing everything at the 0:18:11.800 --> 0:18:13.720 ball in the wall, and we've got all this social 0:18:13.720 --> 0:18:16.680 stuff that's going on and everyone's doing the same thing, 0:18:18.160 --> 0:18:20.720 you know, And again, how do you make it resonate? 0:18:20.760 --> 0:18:22.600 How do you get in the conversation, because then it 0:18:22.600 --> 0:18:25.119 becomes a little bit like wallpaper and this instead of 0:18:25.160 --> 0:18:28.199 our daily task. How are we shaking this up? You know? 0:18:28.320 --> 0:18:30.840 What is the next trend? You know, especially for a 0:18:30.840 --> 0:18:33.359 lot of the acts that I work with, you know, 0:18:33.640 --> 0:18:38.240 they're older, they're really established, they're really really successful, you know, 0:18:38.520 --> 0:18:42.240 the biggest artists in their fielding, in their genre. You know. 0:18:42.359 --> 0:18:44.040 Yet you can't take up a brand, so you can't 0:18:44.080 --> 0:18:46.040 just drop a record like Beyonce it and you know 0:18:46.080 --> 0:18:48.520 it's gonna go. It doesn't work like that, So you 0:18:48.560 --> 0:18:51.399 have to be more creative, you know. Stuff found that 0:18:51.520 --> 0:18:54.600 more and more my jobs. It's almost like, yes, you manage, 0:18:54.840 --> 0:18:57.400 but it's more about marketing. How do you present these 0:18:57.480 --> 0:19:00.719 artists to market? You know, And that's the toughest thing. 0:19:00.720 --> 0:19:02.280 It's got to be right for them. It's got to 0:19:02.359 --> 0:19:06.199 feel good, feel appropriate, connect with their audience. Um, and 0:19:06.240 --> 0:19:09.520 it gets harder. Let's leave a side top forty radio 0:19:09.760 --> 0:19:12.200 because you don't really have acts in those areas. Those 0:19:12.240 --> 0:19:15.880 are the Beyonces, etcetera. And that's narrower than it's ever 0:19:16.000 --> 0:19:21.000 been basically hip hop and pop. So the other types 0:19:21.040 --> 0:19:24.760 of radio to what degree did they fit into your 0:19:24.760 --> 0:19:27.280 plan and how effective are they in terms of getting 0:19:27.280 --> 0:19:30.440 the message? I study use the same sort of analogy 0:19:30.560 --> 0:19:33.640 very diod from marketing. It's important to have a presence 0:19:34.440 --> 0:19:37.639 serious ex sam is probably the most important I feel, 0:19:38.359 --> 0:19:41.040 you know, unless you're again on the top party radio, 0:19:41.080 --> 0:19:44.239 then I how's your best friend? Um? But for us 0:19:44.320 --> 0:19:47.080 is that I work with you know, serious is legitimate. 0:19:47.240 --> 0:19:51.119 They have a real listenership, you know, and how they've 0:19:51.160 --> 0:19:53.439 grown in the past fifteen years, you know, from a 0:19:53.440 --> 0:19:56.720 few million subscribers to probably all closer to forty million 0:19:56.760 --> 0:19:59.399 subscribers not um, I don't know the exact date on that, 0:19:59.440 --> 0:20:01.760 but it's getting well. They announced thirty two and there's 0:20:01.800 --> 0:20:04.600 six point six point five that are on free accounts, 0:20:04.640 --> 0:20:07.600 so your number is pretty good. Okay, So yeah, you know, 0:20:07.640 --> 0:20:09.680 I keep seeing it every sort of year where they're at, 0:20:09.680 --> 0:20:13.120 and you just that they're going up. But it's that's 0:20:13.160 --> 0:20:17.840 a lot of potential listeners more so than anything else. However, 0:20:18.720 --> 0:20:20.760 you know those listeners is like, yeah, I only like 0:20:20.880 --> 0:20:24.600 sixties or seventies radio, you know, or I only like country. 0:20:24.880 --> 0:20:27.440 I only listen to Howard Stern. There's still a lot 0:20:27.480 --> 0:20:31.679 of that. But they're really really good at what they do, 0:20:32.280 --> 0:20:34.960 and you've got to think that whatever genre you're in, 0:20:35.280 --> 0:20:38.640 you're gonna have a dedicated listenership, you know, because let's 0:20:38.640 --> 0:20:41.439 face it, you know, like where can we're rock bands? 0:20:41.520 --> 0:20:45.000 You know, alternative radio doesn't mean what it used to mean, 0:20:45.880 --> 0:20:48.840 you know, gone on the days of the label spending 0:20:48.840 --> 0:20:53.199 money hiring independent radio specialists to try and push your 0:20:53.280 --> 0:20:57.399 music on specific formats. Yes, it still happens, but they 0:20:57.400 --> 0:20:59.359 don't think they get the return anymore. You know, if 0:20:59.400 --> 0:21:02.040 they get all there, the payback isn't what it used 0:21:02.040 --> 0:21:05.119 to be. It doesn't move any you know, so that 0:21:05.320 --> 0:21:09.400 is a challenge. Um. But yet, like when I look 0:21:09.440 --> 0:21:11.960 at sort of a C radio or how a C 0:21:13.000 --> 0:21:16.399 you look at the total listenership and it's so small. 0:21:17.359 --> 0:21:20.040 It's important for artists to see that their music is 0:21:20.040 --> 0:21:23.480 being played. So a lot of it is. And I 0:21:23.560 --> 0:21:26.199 get this from big artists. How do I measure my 0:21:26.240 --> 0:21:29.280 success today? I used to look at my success where 0:21:30.119 --> 0:21:33.080 you know, whatever radio chart with a song in the 0:21:33.119 --> 0:21:37.000 top five, my album went in in the top five. Oh, 0:21:37.080 --> 0:21:39.800 my album's gone go no, no, my album's gone platinum. 0:21:40.040 --> 0:21:42.800 That's how they used to measure their success. Oh, and 0:21:42.920 --> 0:21:44.800 doing the two or thirty days and they've all sold that. 0:21:45.359 --> 0:21:50.000 Artists feel successful today. They might still do the shows 0:21:50.040 --> 0:21:53.360 that way, but then they see any we've got number 0:21:53.400 --> 0:21:56.520 one record this week, and you you're very very aware 0:21:56.560 --> 0:21:59.040 of this. Over the past few years, you know, we've 0:21:59.040 --> 0:22:02.400 gone from bundling tickets with some authors, we've got really 0:22:02.480 --> 0:22:05.320 big tours, you know. So you're buying the ticket and 0:22:05.359 --> 0:22:07.280 it comes with the CD, and the CD goes out 0:22:07.320 --> 0:22:11.360 an accounted for for a scam and that doesn't happen anymore. 0:22:11.880 --> 0:22:14.640 So now everything changes to formats. How do we get 0:22:14.640 --> 0:22:18.119 our hardcore fans two collected from formats and boost our 0:22:18.200 --> 0:22:21.960 numbers first week? Um, So measuring off the success, which 0:22:22.200 --> 0:22:25.000 you know, everyone I work with is like, well, what 0:22:25.040 --> 0:22:27.920 does that mean? Yes, I got number one a week 0:22:28.000 --> 0:22:31.399 two I was number thirty, you know, week three I 0:22:31.480 --> 0:22:34.560 was number sixty three, whatever, So how do I measure 0:22:34.600 --> 0:22:37.640 my success? And it's a really hard question to ask. 0:22:37.680 --> 0:22:41.520 But in the advent of streaming the big artist that 0:22:41.680 --> 0:22:44.159 I work with and we work with as a company, 0:22:44.640 --> 0:22:48.399 you see a whole lift across the entire catalog, you know. 0:22:48.480 --> 0:22:50.920 So that makes it even more complicated to measure success 0:22:51.240 --> 0:22:54.280 unless you really get down to the analytics of exactly, 0:22:54.920 --> 0:22:57.040 say what you were doing across the catalog to what 0:22:57.119 --> 0:22:59.480 you did for the catalog over a very small window 0:22:59.520 --> 0:23:02.119 of time, and what does that lift equate to, and 0:23:02.119 --> 0:23:04.080 then trying to break it down financially is even more 0:23:04.119 --> 0:23:06.480 complicated because then it goes down to the nature of 0:23:06.480 --> 0:23:11.040 the artists deal. Um So, trying to measure success for 0:23:11.080 --> 0:23:13.240 the biggest arts in the world has never been harder, 0:23:13.560 --> 0:23:18.120 I don't think. But they will see the revenue eventually 0:23:18.160 --> 0:23:21.120 flow through because of the increased across If you've got 0:23:21.560 --> 0:23:24.040 twenty albums and your catalog and thirty albums your catalog, 0:23:24.359 --> 0:23:27.159 you see movement across the whole thing. Not necessarily a 0:23:27.240 --> 0:23:30.840 new record, but everything goes up. People are curious, Oh, 0:23:30.880 --> 0:23:32.480 I like that record, I'm going to go back to 0:23:32.520 --> 0:23:37.240 that one, not necessarily the new one. Um So I'm learning. 0:23:37.280 --> 0:23:39.320 We're all learning. Just when you think you know your job, 0:23:39.359 --> 0:23:41.760 you don't know your job. It's back to square one again. 0:23:41.800 --> 0:23:43.399 How do we do this, How do we do better? 0:23:43.920 --> 0:23:45.960 How do we service our artists? How do we make 0:23:46.000 --> 0:23:48.720 them feel that it's not just about touring. Yes, touring 0:23:48.760 --> 0:23:52.040 has never been better for certain artists, but that's not 0:23:52.119 --> 0:23:55.000 what feats them. They like their shows, they're happy to 0:23:55.040 --> 0:23:57.120 be paid well, but they still want to see their 0:23:57.240 --> 0:24:00.000 art and their music becomes successful because that's why their artists, 0:24:00.800 --> 0:24:03.159 you know, like working with all for example, he doesn't 0:24:03.160 --> 0:24:06.160 stop h whites it all the time. He's never stopped 0:24:06.160 --> 0:24:10.399 since years. Yeah, So it's he wants to know that 0:24:10.480 --> 0:24:13.280 he's relevant. He's putting up music and there's an audience 0:24:13.280 --> 0:24:24.480 that have music. Okay, so you mentioned the charts. Hey, 0:24:24.760 --> 0:24:28.439 do you feel there's a significant chart in addition to 0:24:28.840 --> 0:24:32.640 the Billboard Nielsen chart, and that chart, as you say, 0:24:32.720 --> 0:24:38.200 number one, can be manipulated with games physical product In addition, 0:24:38.760 --> 0:24:43.879 they meld physical and digital downloads along with streams and 0:24:43.960 --> 0:24:48.520 now YouTube in a certain way. So, hey, to what 0:24:48.680 --> 0:24:52.200 degree do you play the games because everybody else does 0:24:52.680 --> 0:24:55.200 be would you be in favor of the game's going 0:24:55.280 --> 0:24:59.760 away and see what is it like actually living in 0:24:59.800 --> 0:25:04.880 the world? Okay, Um, I feel that I'm partly responsible 0:25:05.000 --> 0:25:11.439 for creating the games. Um why the game's created? Um? Again, 0:25:11.480 --> 0:25:14.280 going back to say what we're saying about pop artist 0:25:14.280 --> 0:25:19.600 pop artists through history. If you're Beyonce, if you're Kendrick Lamar, 0:25:19.960 --> 0:25:23.879 your Drake, you're Adele. Any of those artists drop a 0:25:23.920 --> 0:25:27.679 song today, it's number one next week. They don't do anything, 0:25:28.280 --> 0:25:32.560 no physical products. It's probably just there are people who 0:25:32.560 --> 0:25:36.440 still digitally download the few that are there. It's still relevant, 0:25:37.200 --> 0:25:39.840 but the rest of streaming those artis can just drop 0:25:39.880 --> 0:25:43.440 the song in the system and boom. Yeah, it would 0:25:43.440 --> 0:25:45.240 be a dream. I'd love to work with something like that, 0:25:45.400 --> 0:25:49.120 but I don't um so in order to try and 0:25:49.200 --> 0:25:53.800 get that chart, because again, let's face it, and you 0:25:53.880 --> 0:25:56.480 probably have exact stats on this, I don't. Is it 0:25:56.840 --> 0:26:01.920 something like the top three percent of all big artists 0:26:03.000 --> 0:26:07.080 probably consume nine plus percent of all streaming. I don't 0:26:07.080 --> 0:26:09.720 know the exact staff there. It's I don't know the 0:26:09.760 --> 0:26:12.720 exact one, but it's not too far away from that. 0:26:13.520 --> 0:26:16.840 And what that means is if you're not a pop 0:26:16.920 --> 0:26:22.959 artist that has been consumed at insane rates by people 0:26:23.040 --> 0:26:25.600 say between the ages of twelve and twenty five, and 0:26:25.600 --> 0:26:28.440 and that's just a very random number. Those are people 0:26:28.440 --> 0:26:33.000 with more disposable time, more downtime then say maybe their 0:26:33.080 --> 0:26:35.199 parents who have good jobs and trying to sort of 0:26:35.600 --> 0:26:37.720 run their lives. They don't have as much free time 0:26:38.040 --> 0:26:40.199 as young people. Young people are free time. They can 0:26:40.240 --> 0:26:43.360 consume that their friends, they share songs, they're online, they're 0:26:43.359 --> 0:26:45.880 all chatting with each other, sharing music all the time, 0:26:45.920 --> 0:26:49.920 and they're they're consuming a lot of music. They're not 0:26:50.000 --> 0:26:53.800 doing that for more, shall we say, established artists, people 0:26:53.800 --> 0:26:56.399 who have had more than five albums in their career. 0:26:56.760 --> 0:26:58.720 As soon as they hit that thirty five to forty 0:26:58.800 --> 0:27:01.639 five maybe plays a little different. They seem to be 0:27:01.680 --> 0:27:06.240 breaking them old um. But most other artists aren't streaming 0:27:06.560 --> 0:27:09.720 like they should. I would think most artists that I 0:27:09.800 --> 0:27:13.440 work with, and let's make up a number. Let's say 0:27:14.320 --> 0:27:17.000 for ch our purposes, they've got a hundred thousand albums 0:27:17.000 --> 0:27:19.679 in the U S and week one, that's what the 0:27:19.680 --> 0:27:24.639 sales equivalent would be. I think probably between three and 0:27:24.680 --> 0:27:30.080 five on a good day would be streaming numbers. So 0:27:30.160 --> 0:27:36.880 without having any kind of creative game plan, you're never 0:27:36.960 --> 0:27:40.240 gonna get that hundred thousand target if that is what 0:27:40.320 --> 0:27:42.200 it needed to be to be number one that week, 0:27:42.680 --> 0:27:45.400 or even playing top five, You're never going to get 0:27:45.440 --> 0:27:48.879 there without first having to say, Okay, how are we 0:27:48.920 --> 0:27:51.199 going to break this down? You know, how are we 0:27:51.240 --> 0:27:52.639 going to get to where we want to get to? 0:27:52.760 --> 0:27:54.480 And then you have to find the path to get there, 0:27:55.520 --> 0:27:57.919 and I've started become really really good at that with 0:27:58.040 --> 0:28:00.760 everyone that I work with. You've got to try and 0:28:01.000 --> 0:28:03.600 look after the fans. What do the fans want who, 0:28:03.640 --> 0:28:06.480 at least hardcore base, what do they really really want 0:28:06.480 --> 0:28:08.159 from this office, and then you've got to try and 0:28:08.200 --> 0:28:13.800 feed them, knowing that your streaming numbers right now aren't 0:28:13.840 --> 0:28:16.240 going to get you there alone, you know. So I 0:28:16.240 --> 0:28:20.680 couldn't put a record up by and Paulay or s 0:28:21.080 --> 0:28:23.800 Twain and just any of the albums up. We've got 0:28:23.800 --> 0:28:26.719 a great final, We've got a great CD. You can 0:28:26.800 --> 0:28:29.959 stream it on Apple and Spotify and Amazon, you know, 0:28:30.080 --> 0:28:33.159 and it's just it would probably do a tenth of 0:28:33.280 --> 0:28:36.560 what we've needed to do. Let's go to YouTube content. 0:28:37.200 --> 0:28:41.920 To what degree is it necessary? And do you create 0:28:42.360 --> 0:28:46.440 specific content for YouTube like videos? It used to be, 0:28:46.440 --> 0:28:49.560 you know, you made a video for MTV. Now the 0:28:49.640 --> 0:28:53.160 bigger acts make a video especially for YouTube. Maybe it 0:28:53.240 --> 0:28:56.280 might be distributed elsewhere. Other acts do nothing and hope 0:28:56.320 --> 0:28:58.680 for fan content or something that might be from a 0:28:58.760 --> 0:29:00.920 late night shell. To what degree is that part of 0:29:00.920 --> 0:29:03.360 the plan? And what do you do YouTube? I've found 0:29:03.520 --> 0:29:05.280 at least for they are acts, I work with them 0:29:05.280 --> 0:29:09.640 in such an important partner because they're willing to be creative, 0:29:10.040 --> 0:29:12.480 they're willing to do things out the books, and they're 0:29:12.480 --> 0:29:15.640 willing to assist you to fund it. A couple of 0:29:15.680 --> 0:29:20.160 years ago, McConney released an album called Egypt Station and 0:29:20.240 --> 0:29:22.400 that was the name of the album. So we're trying 0:29:22.440 --> 0:29:24.680 to think, how do we launch this album, you know, 0:29:24.720 --> 0:29:26.680 and we've done a bunch of great stunts over the 0:29:26.760 --> 0:29:29.000 years with him. He's really open to doing things if 0:29:29.000 --> 0:29:33.600 they're created. And we thought, we we've never done anything 0:29:34.160 --> 0:29:37.160 in a station, So what about Grand Central Station probably 0:29:37.160 --> 0:29:41.640 one of the most iconic training stations on the planet architecturally, 0:29:41.760 --> 0:29:43.840 everyone knows it would be anywhere in the world. And 0:29:43.880 --> 0:29:47.160 you say grind Central, they know it's New York. Why 0:29:47.160 --> 0:29:49.160 don't we try and do the album comes out on Friday. 0:29:49.160 --> 0:29:52.160 Why do we try and do the show just after 0:29:52.240 --> 0:29:55.200 rush our sitting pm on a Friday night in Grand 0:29:55.240 --> 0:29:59.840 Central Station, and let's film it, you know, because it's 0:29:59.840 --> 0:30:03.959 a beautiful, beautiful room there. As architecturally, it's actually stunning. 0:30:04.760 --> 0:30:06.440 Next time you in New York, if you haven't been there, 0:30:06.480 --> 0:30:11.080 have a walk around. The building is unbelievably beautiful. So 0:30:11.120 --> 0:30:15.280 we found this amazing room. We've got the permissions. New 0:30:15.360 --> 0:30:19.160 York's very friendly. You know, three different police forces. You know, 0:30:19.160 --> 0:30:21.120 you've got the Metro police for the station, You've got 0:30:21.200 --> 0:30:23.840 state police, you've got a city police, got them all 0:30:23.920 --> 0:30:26.880 talking in harmony. The Mayor's office gave his permits. It's 0:30:26.960 --> 0:30:29.640 really strict. Everything about it was really strict, from the 0:30:29.680 --> 0:30:32.080 minute you go in, the minute you get out what 0:30:32.200 --> 0:30:36.080 you have to do. And YouTube came on board and 0:30:36.160 --> 0:30:40.240 filmed this and we we filmed it in such a cinematic, 0:30:40.360 --> 0:30:44.680 beautiful way the really creative director and we broadcast alive. 0:30:46.120 --> 0:30:49.720 So those stunts are so few and far between, they 0:30:49.760 --> 0:30:53.360 don't work for every artist, but it was such a 0:30:53.400 --> 0:30:59.600 monumental event. That event was captured, it's still online. And 0:30:59.680 --> 0:31:03.240 we we partnered. We did a fun partnership, say would 0:31:03.240 --> 0:31:07.680 lift and on their maps because anyone wanted to the station, 0:31:07.840 --> 0:31:10.120 they gave him a lift there for free, you know. 0:31:10.240 --> 0:31:11.880 And they re branded the station on the maps and 0:31:11.960 --> 0:31:14.360 Egypt Station for a night into Grand Central Away. So 0:31:14.520 --> 0:31:17.760 we had a bunch of fun, gimmicky things. But but 0:31:17.800 --> 0:31:21.840 the YouTube partnership was so vital there because we couldn't 0:31:21.840 --> 0:31:24.000 have afforded to do it without them. You know, I 0:31:24.040 --> 0:31:26.160 think they paid, you know, just over half of what 0:31:26.280 --> 0:31:28.479 it costs and the rest we use from marketing budgets 0:31:28.480 --> 0:31:31.400 from the label. But it was such a stunning event 0:31:31.840 --> 0:31:34.680 and created a real moment and what we gained from 0:31:34.680 --> 0:31:39.400 that media wise, especially in New York, the biggest selling market, 0:31:40.200 --> 0:31:42.880 you know, or literally the state of New York is 0:31:42.880 --> 0:31:45.720 where he sells more product than anywhere else, and you 0:31:45.760 --> 0:31:48.720 get all the front page coverage from that, you know, 0:31:48.960 --> 0:31:52.360 McCartney shuts down Rush Hour and things like this, and 0:31:53.000 --> 0:31:54.600 but it was all because of YouTube. We could have 0:31:54.600 --> 0:31:57.800 done it without. Then I go into Andrea but Chelly 0:31:58.280 --> 0:32:06.640 and this is in April. It was Easter Day and 0:32:07.440 --> 0:32:10.480 we went to This is actually one of my staff, Francesco. 0:32:10.520 --> 0:32:13.280 We were in a team in Italy. He came up 0:32:13.280 --> 0:32:15.440 with this idea and we all thought, yeah, that's kind 0:32:15.480 --> 0:32:18.960 of a cool idea. It didn't set our worlds up 0:32:19.000 --> 0:32:21.120 far and thinking like, yeah, cool, we should go with 0:32:21.120 --> 0:32:23.840 it if it's you know, and his idea was on 0:32:23.920 --> 0:32:27.800 Easter Day because everything was a lockdown. No one was 0:32:27.840 --> 0:32:31.360 allowed other than the groceres or walking your dog or something. 0:32:32.200 --> 0:32:35.720 We did this event at the Duomo Cathedral in the Lama. 0:32:37.240 --> 0:32:39.440 We sold the idea to YouTube as and would you 0:32:39.520 --> 0:32:41.800 like to help fund this and we're broadcast it live 0:32:43.520 --> 0:32:46.480 um and it was just really under it in the cathedral. 0:32:48.000 --> 0:32:51.600 You know, he sang a couple of songs and we 0:32:51.680 --> 0:32:54.480 had to rehearse and walking out the cathedral because he's blind. 0:32:54.960 --> 0:32:57.920 He walked all the way outside of the cathedral and 0:32:58.040 --> 0:33:00.680 sang a song in the square at that's normally full 0:33:00.680 --> 0:33:03.160 of tourists and full of people. There was a ghost 0:33:03.240 --> 0:33:07.040 town and he sang a song with the cathedral as 0:33:07.080 --> 0:33:09.640 the background. The weather was beautiful. We had a crew 0:33:09.680 --> 0:33:12.160 of six people and a couple of staff, and there 0:33:12.320 --> 0:33:15.720 his wife. There's no one there. It was all very 0:33:15.920 --> 0:33:19.240 tied because of COVID pre the call, and that changed 0:33:19.280 --> 0:33:23.960 the game completely because everywhere, I think we had something 0:33:24.000 --> 0:33:26.520 crazy like three and a half to four million people 0:33:26.560 --> 0:33:30.680 chewed in the live around the world. It became such 0:33:31.080 --> 0:33:35.120 an event. We were thirty million the next day because 0:33:35.400 --> 0:33:37.520 people would go back because the world them out. You've 0:33:37.520 --> 0:33:40.240 got to see this, you know. And and that for 0:33:40.320 --> 0:33:42.600 him was something that we thought would just be a 0:33:42.600 --> 0:33:45.400 cool little thing for him to do, and he just 0:33:45.440 --> 0:33:47.680 wanted to do it earthly and then turn it into 0:33:47.680 --> 0:33:51.480 this global event. And again I think it was a 0:33:51.560 --> 0:33:54.000 hundred and fifty thou dollars in costs for the film 0:33:54.080 --> 0:33:58.160 crew and the satellite up link, a lot of money, 0:33:58.200 --> 0:33:59.680 but not a lot of money in the grand scheme 0:33:59.680 --> 0:34:02.600 of things, and that was such a game changer. And again, 0:34:03.320 --> 0:34:05.680 and you know, I'm probably the best salesman right now, 0:34:05.720 --> 0:34:08.359 but they thought, this is a great idea. We want 0:34:08.360 --> 0:34:12.759 to support the artist. Let's do this. So going back 0:34:12.760 --> 0:34:15.560 to your point though, artists doing videos for your YouTube, 0:34:16.000 --> 0:34:19.880 I think to try and get an engagement, you know, 0:34:20.040 --> 0:34:22.520 like YouTube are always willing to if you go to 0:34:22.560 --> 0:34:25.319 them with an idea. Okay, we're gonna have this artist 0:34:25.400 --> 0:34:29.120 of this group of this band sit down with this 0:34:29.200 --> 0:34:33.080 actor and this other artists friends of theirs, and they're 0:34:33.120 --> 0:34:35.319 going to talk about the new music and then all 0:34:35.360 --> 0:34:37.839 of a sudden they're going to introduce a new video, 0:34:38.520 --> 0:34:41.840 almost like a premier. YouTube are always game for any 0:34:42.000 --> 0:34:44.960 cool ideas. I did one with Paul and Chris Rock. 0:34:45.080 --> 0:34:47.640 They just chatted about music and it was over zoom 0:34:47.719 --> 0:34:50.680 because it couldn't be in the same place YouTube. And yeah, 0:34:50.719 --> 0:34:53.040 we'll do this, but not only will we do this, 0:34:53.960 --> 0:34:56.800 we'll actually support this and we'll take our off side 0:34:56.840 --> 0:35:01.200 billboards because like most companies, they book billboards around the world, 0:35:01.200 --> 0:35:03.560 but they pretty much take on a twelve monthly basis, 0:35:04.000 --> 0:35:07.200 and we will drive more traffic to this, so they 0:35:07.239 --> 0:35:10.440 really get behind the artist. There's such an important partner, 0:35:10.840 --> 0:35:13.839 but they're one of many really important partners and it's 0:35:13.880 --> 0:35:15.920 just another piece of the puzzle. You've got to get 0:35:15.960 --> 0:35:19.239 them on board, and you've got to be really, really creative. 0:35:19.680 --> 0:35:22.160 What works for the fans, what works for the artists, 0:35:22.239 --> 0:35:24.359 and also what works for the company. Can you get 0:35:24.400 --> 0:35:28.280 all three right at the same time. Um, the biggest 0:35:28.320 --> 0:35:30.399 issue with YouTube will always come back to, well, how 0:35:30.440 --> 0:35:34.239 do they pay? You know. It's like like all of 0:35:34.280 --> 0:35:37.920 these arguments you know, with Spotify or how are they paying? 0:35:37.960 --> 0:35:40.320 You know? Is how they paying fair rates to the artists. 0:35:41.440 --> 0:35:44.520 There's always that fine line between water is promo. If 0:35:44.520 --> 0:35:47.240 you look at YouTube like we U see look at MTV, 0:35:47.719 --> 0:35:49.959 We're not getting paid for that. They're playing our video 0:35:50.000 --> 0:35:53.200 ten times a day. So it's that fine line between 0:35:53.280 --> 0:35:56.760 ensuring the artist gets paid when music is being played 0:35:57.440 --> 0:36:00.440 and also we need to promotional outlet because if we 0:36:00.440 --> 0:36:03.120 have something that we feel is great that our fans love, 0:36:04.000 --> 0:36:07.200 hopefully we can create that project. If YouTube is partnering 0:36:07.320 --> 0:36:11.719 with you, do they still pay from view one or 0:36:11.760 --> 0:36:13.640 do they say we invested all this money you want 0:36:13.640 --> 0:36:16.640 to take it off top no, they still pay from Okay, 0:36:16.719 --> 0:36:19.720 let's go to the other end of the spectrum, Cecilia. 0:36:20.000 --> 0:36:22.600 You know, without you can talk about her specifically but 0:36:22.640 --> 0:36:25.879 in general and act like that with much less visibility. 0:36:26.239 --> 0:36:32.439 Will you create specific content to post on YouTube very 0:36:32.480 --> 0:36:35.360 close to launch or even before I think so. I 0:36:35.360 --> 0:36:37.720 think you have to try and get the autics personality across. 0:36:38.000 --> 0:36:40.879 Maybe it's something conversation piece, maybe it's sort of playing acoustically. 0:36:41.280 --> 0:36:44.320 We will create specific content that we will put on YouTube. 0:36:45.200 --> 0:36:47.680 Her sitting in our bedroom. You know, there's nothing better. 0:36:47.719 --> 0:36:49.560 At the amount of time she's a zoom and say, hey, 0:36:49.600 --> 0:36:51.000 I want to play you this? What do you think 0:36:51.040 --> 0:36:54.200 call it? And it's so fun when when that happens, 0:36:54.239 --> 0:36:56.680 because no one else does that. Let's face it, you know, 0:36:56.760 --> 0:36:59.680 the young artists who are not tainted with this industry, 0:37:00.080 --> 0:37:03.320 not jaded in any way, Hey can you do the zoom? 0:37:03.320 --> 0:37:05.439 And she'll just sit in her bedroom with a little 0:37:05.520 --> 0:37:09.040 leftop there and taught herself how to record, and she 0:37:09.040 --> 0:37:11.440 will just play a song and it's it's so effortless 0:37:11.480 --> 0:37:13.439 and amazing. It's almost like we just put a little 0:37:13.440 --> 0:37:16.480 camera crew in your bedroom with this little twin bed 0:37:16.480 --> 0:37:18.520 and your little leftop on your desk and stuff and 0:37:18.600 --> 0:37:23.759 just record you doing this. So absolutely because contents King, 0:37:24.120 --> 0:37:27.520 how do you you know when someone discovers you discover anything, 0:37:27.840 --> 0:37:29.719 you want to know more, Oh has that person done 0:37:29.760 --> 0:37:32.000 anything else? And you go backwards what else have they done? 0:37:32.280 --> 0:37:35.240 Kind of learn more. It's gonna be the same for anyone, 0:37:35.400 --> 0:37:38.239 any new fan, anyone who's remotely interested. They want to 0:37:38.280 --> 0:37:41.040 go digging, and if there's nothing there, you're not feeding them. 0:37:41.440 --> 0:37:42.920 So we're going to try and feed them until we 0:37:43.000 --> 0:37:46.080 put an album out. Then it comes to question, who 0:37:46.320 --> 0:37:48.160 you know, if she puts an album mobile, I'll be 0:37:48.239 --> 0:37:51.439 putting out physically. You know? Is there a marketing even 0:37:51.440 --> 0:37:54.279 for vinyl as big as viol is Right now, we 0:37:54.400 --> 0:37:56.480 kind of don't know what's what shape this is gonna 0:37:56.560 --> 0:37:59.640 take until we start. It's kind of exciting, really, this 0:38:00.040 --> 0:38:02.800 them is our hope or only hope for this album. 0:38:02.840 --> 0:38:05.520 Even if we don't sell a lot of records, I 0:38:05.640 --> 0:38:08.000 guarantee we're going to be in the year top ten lists. 0:38:08.840 --> 0:38:10.719 That's where we're going to get with the record. Let's 0:38:10.719 --> 0:38:15.480 go to TikTok. What do we know? The traditional music 0:38:15.520 --> 0:38:19.640 infrastructure was blindsided by this. Then we had the incredible 0:38:19.680 --> 0:38:23.960 success with the Cranberry Juice and Fleetwood Mac. You know, 0:38:24.200 --> 0:38:27.640 it's not run like the other social platforms. You know, 0:38:27.719 --> 0:38:30.960 the company invests and it allows you to not have 0:38:31.239 --> 0:38:34.000 talking about as someone who's creating videos, not myself, but 0:38:34.040 --> 0:38:37.160 a creator they might be able to get into in traction, 0:38:37.200 --> 0:38:40.120 whereas on the other systems, if you haven't already made it, 0:38:40.440 --> 0:38:43.839 you're really pushing the rock uphill. To what degree do 0:38:43.920 --> 0:38:48.680 you interface with TikTok? Does it work or is it 0:38:48.760 --> 0:38:51.760 really just about getting lucky that someone picks up yourself 0:38:52.400 --> 0:38:54.560 and peels like it's really just about getting lucky? The 0:38:54.880 --> 0:38:59.480 genuinely does. Like every other outlet, you have to address it. 0:38:59.560 --> 0:39:02.680 You can. It's not an afterthought every call that we do. 0:39:02.800 --> 0:39:05.960 What's our plan for YouTube? What's our plan for Spotify? 0:39:06.080 --> 0:39:08.960 What's our plan for Apple? What's our plan for TikTok's 0:39:08.960 --> 0:39:13.000 our plan for Amazon? Every single partner you have to address. 0:39:13.080 --> 0:39:15.040 You have to give them time. You have to try 0:39:15.040 --> 0:39:18.480 and get creative. What content can we put up there 0:39:18.880 --> 0:39:21.680 that's not only going to connect with the artists fans? 0:39:21.960 --> 0:39:24.560 How do we get new fans? How do you introduce 0:39:24.640 --> 0:39:27.080 this new music to people who may I've never heard 0:39:27.080 --> 0:39:29.680 of the artists a new artist, even as an older artist, 0:39:29.800 --> 0:39:31.799 you know, like a new music out How do we 0:39:31.840 --> 0:39:36.120 get this out there? Um? And by far no means 0:39:36.120 --> 0:39:41.480 an expert on Spotify, on TikTok. Luckily I have younger staffs. 0:39:41.640 --> 0:39:46.240 They're way more you know, well worse than I am. Um. 0:39:46.280 --> 0:39:48.919 But it still feels like it's pot luck. It's about 0:39:49.000 --> 0:39:52.360 music connecting with something a creator has done, you know, 0:39:52.560 --> 0:39:56.960 or the artists does something that's really appropriate for that platform. 0:39:57.000 --> 0:40:01.799 I haven't had anything big breakout of it. Had some 0:40:01.840 --> 0:40:04.560 fun moments with it, but they never really turned into 0:40:04.600 --> 0:40:08.240 anything tangible. But I've seen but I think it's something 0:40:08.280 --> 0:40:11.560 that you need a presence. The view counts that you 0:40:11.600 --> 0:40:15.080 get on some of these uh little pieces of content 0:40:15.160 --> 0:40:18.040 that you post are insanely large, but I don't see 0:40:18.080 --> 0:40:21.319 that translate off the platform. Okay, let's go to the road. 0:40:21.440 --> 0:40:23.920 Let's talk with someone like Paul McCartney is essentially going 0:40:24.000 --> 0:40:27.880 to sell out everywhere he plays. How do you decide 0:40:27.880 --> 0:40:34.280 on frequency, location, building, ticket prices. Paul was always really, really, 0:40:34.760 --> 0:40:41.120 really adamant, even with the new world of secondary ticket 0:40:41.160 --> 0:40:47.040 things stub hubs and all those after market platforms where 0:40:47.040 --> 0:40:49.759 people would sell the tickets for two or three, four 0:40:49.840 --> 0:40:53.280 or five, ten times the cover price. Paul never wanted 0:40:53.320 --> 0:40:57.439 to charge more than three dollars, even though he could 0:40:57.480 --> 0:41:01.280 have this role and that is two thousand dollars whatever. 0:41:02.160 --> 0:41:05.560 He always wanted to keep it tight, still does, still 0:41:05.600 --> 0:41:08.440 having these conversations. Always make sure he's aware of how 0:41:08.520 --> 0:41:10.960 things work, to make sure you knows what every other 0:41:10.960 --> 0:41:15.320 office is doing. And at that point it's his choice. Um, 0:41:15.360 --> 0:41:18.400 that's generally ticketing. So his grocers are always going to 0:41:18.440 --> 0:41:21.720 be lower than what they could be because he doesn't 0:41:22.200 --> 0:41:25.360 want to raise his prices. That's just the way is, 0:41:25.440 --> 0:41:28.680 even though he knows that three ticket, so I'm gonna 0:41:28.680 --> 0:41:30.799 buy for two and a half thousand dollars. Okay, how 0:41:30.800 --> 0:41:33.520 do you decide how often on the market? Now? How 0:41:33.520 --> 0:41:36.040 do you just decide forre you get to the yeah, 0:41:36.120 --> 0:41:40.120 in terms of uh, if leaving COVID out of the picture, 0:41:40.400 --> 0:41:43.680 let's really talk to paradigm before that. How much does 0:41:43.680 --> 0:41:46.200 he want to work and how do you decide the 0:41:46.280 --> 0:41:49.000 market and within a certain country where to play and 0:41:49.040 --> 0:41:52.920 what size buildings. Let me give you an example saying 0:41:53.080 --> 0:41:57.400 in the US, probably easiest one to do um Pose 0:41:57.719 --> 0:42:01.239 agent and co promoters a gentleman named Aarry Marshall who 0:42:01.280 --> 0:42:05.120 has worked with Paul for decades. One of the best 0:42:05.120 --> 0:42:08.000 I've ever worked with, learned so much from He's such 0:42:08.040 --> 0:42:12.080 a mentor, such a you know, fountain of knowledge. And 0:42:12.080 --> 0:42:14.360 if you ever go to Barry's office, which is in London, 0:42:14.760 --> 0:42:18.040 he's a map of the world, big map of the 0:42:18.080 --> 0:42:22.760 world on a really big wall and there's little color 0:42:22.800 --> 0:42:27.960 coordinated pins on this map and each pin will signal 0:42:28.160 --> 0:42:32.560 signify a year and the tour, so you can see, okay, 0:42:32.640 --> 0:42:34.960 how many times has he been here, how intends to 0:42:35.000 --> 0:42:37.200 be there? And that's what it ends up doing, is 0:42:37.320 --> 0:42:39.520 where has he never been? So you find out all 0:42:39.520 --> 0:42:43.600 these markets where he has never been, and he always 0:42:43.640 --> 0:42:45.839 wants to go to these places. Even though with Paul, 0:42:45.960 --> 0:42:49.200 if he doesn't run a dates, let's say shows in 0:42:49.239 --> 0:42:52.600 the US, he could just do major markets, but he 0:42:52.600 --> 0:42:54.560 could do major markets every two or three years if 0:42:54.600 --> 0:42:57.920 he wanted to, or every year even but he doesn't. 0:42:58.040 --> 0:43:01.480 He wants to go places where he has been just 0:43:01.640 --> 0:43:04.520 adding to the fact that he will have played most 0:43:04.560 --> 0:43:08.080 places and he was always into trying to do if 0:43:08.080 --> 0:43:10.399 you went to a major market let's say New York, 0:43:11.360 --> 0:43:13.280 I'm going to play in the Garden a few nights, 0:43:13.760 --> 0:43:16.640 then maybe go across across the river to the Barkley 0:43:16.680 --> 0:43:18.880 Center for a couple of nights. Maybe go over to 0:43:19.080 --> 0:43:21.239 New Jersey for a couple of nights. I'm covering the 0:43:21.280 --> 0:43:24.319 Try State area. Then maybe next time I'm go and 0:43:24.320 --> 0:43:27.440 play Met Life. You know, so never wants to just 0:43:27.560 --> 0:43:31.240 repeat MetLife, Met Life, MetLife Yankee Stadium, Met Life Yankee 0:43:31.239 --> 0:43:35.800 Stadium sometimes wants to keep it smaller and more intimate, 0:43:35.960 --> 0:43:37.920 mix it up for fans so they're not just getting 0:43:37.960 --> 0:43:42.000 the same thing every time. Same In Los Angeles, you know, 0:43:42.080 --> 0:43:44.279 maybe okay, maybe we're gonna play the Forum, or we're 0:43:44.320 --> 0:43:46.960 gonna play Staples Center or Hollywood Bowl, and maybe we're 0:43:46.960 --> 0:43:50.520 gonna do like Dodger Stadium. You know. So it's always 0:43:50.560 --> 0:43:54.319 tries to mix it up. Um and then with the 0:43:54.360 --> 0:43:57.080 rest of the world, it's like, okay, you know, he 0:43:57.120 --> 0:44:00.239 hadn't really done South America. The Beetles never did South America. 0:44:01.080 --> 0:44:03.560 So then we said, okay, let's start with Mexico, and 0:44:03.640 --> 0:44:06.439 we did a whole bunch of shows in Mexico, played 0:44:06.440 --> 0:44:09.520 the Aztecs Stadium in Mexico City who played Zokolo Square 0:44:09.560 --> 0:44:13.000 for a free show for two children, fifty people, you know. 0:44:13.239 --> 0:44:15.840 And there's another place called Fotosaul, which is like the 0:44:15.840 --> 0:44:19.240 baseball stadium, you know. So okay, we're doing all these venues, 0:44:19.280 --> 0:44:23.520 and we've done the arenas, so you covered that one. Wherever. 0:44:23.560 --> 0:44:26.760 Never been never in a Paraguay, never been to Uruguay, 0:44:27.200 --> 0:44:29.960 you know, and never be in the Chile never you know, 0:44:30.160 --> 0:44:32.200 never been to Peru. When we started going around all 0:44:32.239 --> 0:44:34.880 of these places, and I remember going with him to 0:44:35.600 --> 0:44:40.000 a sun shone in Paraguay. Flying in, I can't even 0:44:40.040 --> 0:44:42.840 see a city. I always see his jungle and like, 0:44:42.920 --> 0:44:45.520 who is going to come and see him play in 0:44:45.640 --> 0:44:49.279 this city? And you get there and you're really in 0:44:49.320 --> 0:44:52.480 the you feel I really feel like I'm in remote 0:44:52.480 --> 0:44:56.040 part of the planet, never mind in this country itself. 0:44:56.840 --> 0:45:00.440 Then we go to this rookiey old football stadium and 0:45:00.640 --> 0:45:03.960 thirty five thousand people show up, and it's like, where 0:45:04.000 --> 0:45:08.440 did these people come from? How did they know him? 0:45:08.560 --> 0:45:11.160 How can they afford the ticket? Doesn't look like a 0:45:11.160 --> 0:45:17.200 wealthy country. Um, And we sell out and it's amazing. 0:45:17.400 --> 0:45:20.680 It never ever ever ceases to amaze me how things 0:45:20.680 --> 0:45:24.040 are that can happen. It's magical. And one thing that 0:45:24.080 --> 0:45:27.240 Paul when we're speaking last week, he he he always 0:45:27.239 --> 0:45:29.839 talks about this. He's going, you know, I'm hanging out 0:45:29.840 --> 0:45:32.480 with friends or bump into someone they like, hey, what 0:45:32.560 --> 0:45:34.440 are you up to? You know you're still playing these days. 0:45:34.680 --> 0:45:38.160 He's going, people have no idea what goes on another 0:45:38.200 --> 0:45:40.600 parts of the world, you know, and we've got to 0:45:41.000 --> 0:45:43.960 remind them. We gotta do something with that. Because when 0:45:44.000 --> 0:45:47.799 he's in Mexico, he's in Argentina, all those places, it's 0:45:47.800 --> 0:45:51.640 still beatle Mania. Thousands of fans outside of that town 0:45:51.920 --> 0:45:55.880 all night, singing Beatles songs with their flags and there 0:45:56.440 --> 0:45:59.200 whatever they've painted on them. And when he tries to 0:45:59.239 --> 0:46:01.239 get out of the hotel, more often than not, same 0:46:01.280 --> 0:46:03.799 in Japan, he's got to go out from underneath the 0:46:03.840 --> 0:46:07.120 service entrance. You can go out the front door. It's 0:46:07.520 --> 0:46:10.960 kind of next level craziness. Yeah, And the rest of 0:46:10.960 --> 0:46:13.080 the world is all very civilized, it's all very polite, 0:46:13.719 --> 0:46:15.959 and he's like, it's kind of he says, that still 0:46:15.960 --> 0:46:18.840 blows my mind that no one has any idea. You know, 0:46:18.880 --> 0:46:21.279 we just played three nights that were played stadium. We 0:46:21.360 --> 0:46:23.640 played two d and ten thousand people. It's beat on 0:46:23.719 --> 0:46:28.040 many of their Nobody knos you know, so we have 0:46:28.480 --> 0:46:31.600 we're talking about it. How do we pull something together, 0:46:32.320 --> 0:46:34.360 you know in the future. You know, it's like, but 0:46:34.440 --> 0:46:37.320 there's a little mini dark or something. Because we film everything. 0:46:37.320 --> 0:46:39.240 You film all the shows, We record all the shows 0:46:39.400 --> 0:46:42.920 with a bureau team were still photographers. We document all 0:46:42.960 --> 0:46:47.120 of this. Um So at some point hopefully we can 0:46:47.160 --> 0:46:49.960 do something and people are, oh, that was happening, that's 0:46:50.000 --> 0:46:54.200 still happens. Um So it's pretty funny. Just that's one 0:46:54.280 --> 0:46:57.239 artist perspective and can look at Andrea Butchelli. No one 0:46:57.560 --> 0:47:00.520 talks twice about Andrea but Chelly that often. He's one 0:47:00.520 --> 0:47:02.840 of the highest box office grossing stuffles on the planet. 0:47:03.160 --> 0:47:06.480 Certainly in the US. Nobody knows. You know. You can 0:47:06.480 --> 0:47:09.000 go down in Brazil and he's playing multiple nights and 0:47:09.000 --> 0:47:12.279 football stadiums, nobody knows, you know. So this is sort 0:47:12.280 --> 0:47:15.640 of off. His careers, you know, are so different, so 0:47:15.760 --> 0:47:19.400 diverse across the world. And how you get that to 0:47:19.480 --> 0:47:22.480 connect so that everyone is aware all over the world 0:47:22.760 --> 0:47:32.719 is something I haven't managed to crack yet. Let's stay 0:47:32.760 --> 0:47:35.280 with the Curdy for a minute. At this late date, 0:47:37.040 --> 0:47:40.880 what does he want? Also, he has a reputation for 0:47:40.920 --> 0:47:43.840 being a student of the game. There's certain artists that do, 0:47:43.920 --> 0:47:46.440 like Elton John whatever, and the other artists are oblivious. 0:47:46.480 --> 0:47:48.439 Just point me in the right direction and I'll do it. 0:47:49.120 --> 0:47:53.920 So to what degree is he involved in strategizing, knowing 0:47:53.960 --> 0:47:58.000 the numbers, etcetera. And what is he actually looking for 0:47:58.200 --> 0:48:02.080 at this late date. Papaul is a master of his craft, 0:48:02.239 --> 0:48:05.440 There's no doubt about it. No one has a career 0:48:06.719 --> 0:48:11.719 this long, this successful without really being on top of 0:48:11.760 --> 0:48:14.600 it and driving it. You can help artist careers to 0:48:14.680 --> 0:48:17.520 a point, but if they're not the driver, it wouldn't 0:48:17.560 --> 0:48:22.160 last as long. Um. I think I've learned more about 0:48:22.160 --> 0:48:24.239 my job through working with him than I have done 0:48:24.400 --> 0:48:26.960 through working with anyone else. It made me better at 0:48:27.000 --> 0:48:30.440 my job, made me better with other artists because no 0:48:30.480 --> 0:48:34.600 one's had a career like this who's still active. Um, 0:48:34.600 --> 0:48:38.759 he's super aware every detail, every number he wants to know. 0:48:39.120 --> 0:48:43.200 He's super tuned in, doesn't gloss over anything, needs reporting, 0:48:43.560 --> 0:48:48.040 needs constant communication. Is a really big team, um, great, 0:48:48.040 --> 0:48:50.840 great team that we've refined over years. This is my 0:48:51.120 --> 0:48:54.120 sixteenth year poll. It took probably five or six years 0:48:54.160 --> 0:48:56.839 to find the right team, and we have a great team. 0:48:56.880 --> 0:48:58.360 I wish we could have a team like this, but 0:48:58.440 --> 0:49:02.560 every artist I worked with, it would I get better. Um. 0:49:02.600 --> 0:49:06.480 He's so tuned in and so involved in the creative, 0:49:06.960 --> 0:49:11.680 you know, artwork, paper stock, everything we do. Were we 0:49:11.800 --> 0:49:15.640 do working on the catalog piece and he'd approved the 0:49:15.719 --> 0:49:19.080 cardboard stock and then that was out of stock. Covid 0:49:19.120 --> 0:49:21.560 couldn't get a ship, got another one. He's like, just 0:49:21.600 --> 0:49:24.840 not as good. Let's find something else. So every detail 0:49:25.280 --> 0:49:28.720 he's on, no one, no other artists on the planet 0:49:28.920 --> 0:49:32.080 has this attention to detail. I want to see printing 0:49:32.120 --> 0:49:35.279 samples once, to see everything before he signs off. We 0:49:35.320 --> 0:49:37.200 have a full time team who do this sort of 0:49:37.200 --> 0:49:40.440 thing for him to make sure that it's perfect, you know. 0:49:40.560 --> 0:49:43.160 And when it comes to touring every show, when's the 0:49:43.200 --> 0:49:45.680 last time was there? Oh, haven't been here? He's really 0:49:45.719 --> 0:49:50.200 really involved. The only time in my whole time with 0:49:50.239 --> 0:49:52.319 Paul he let me run with something was when he 0:49:52.360 --> 0:49:56.480 did McCartney three, because he delivered it with eight weeks 0:49:56.480 --> 0:50:00.480 ago before the record came out. That was kind of 0:50:00.600 --> 0:50:03.000 and it was writing Covid. It was run about the 0:50:03.040 --> 0:50:09.920 holiday period of twenty and you know he delivers. The 0:50:09.960 --> 0:50:13.160 masters were often running the hoops we had to jump through. 0:50:13.160 --> 0:50:15.920 For vinyl, you know, I went to Thirpman knocked on 0:50:15.960 --> 0:50:17.800 the door literally to see if they could help his 0:50:17.920 --> 0:50:20.799 manufactured vinyl, and they did because without them we went 0:50:20.880 --> 0:50:22.920 upand behind all So it's it felt like a punk 0:50:23.000 --> 0:50:25.840 rock campaign for someone like Paul McCartney. Made this record 0:50:25.840 --> 0:50:29.080 at home, gave us the record eight weeks before Street Day, 0:50:29.480 --> 0:50:34.040 but no expectations, wasn't really doing any promo, and then 0:50:34.040 --> 0:50:35.960 he says, like he usually does, so send me the 0:50:36.000 --> 0:50:37.799 marketing plan, let me look over with what you plan 0:50:37.920 --> 0:50:41.799 to do. It's like, Paul, trust me on this, just 0:50:41.960 --> 0:50:43.799 go with it. We're gonna make it up as we 0:50:43.840 --> 0:50:46.759 go along. We're not going to put any singles. We're 0:50:46.800 --> 0:50:50.600 just gonna try and drive some excitement if we can 0:50:50.600 --> 0:50:52.560 till the street day so people really want to hear 0:50:52.600 --> 0:50:54.400 the music, and we'll do a series of little movie 0:50:54.400 --> 0:50:57.359 trailers just with you know, little themes, maybe a little 0:50:57.360 --> 0:51:00.480 bit of music in there, just to sort of our 0:51:00.680 --> 0:51:03.279 energy behind this campaign from the moment we announced the 0:51:03.280 --> 0:51:07.160 moment that comes out. He's like, you feel okay with 0:51:07.160 --> 0:51:09.239 this and went feel good with it, just go with it, 0:51:09.280 --> 0:51:11.200 and he went, all right, I trust you go with it. 0:51:11.520 --> 0:51:15.400 First time. I took that long for him to not 0:51:15.560 --> 0:51:17.880 be hands off, but just sort of take one hand off, 0:51:19.000 --> 0:51:22.960 you know. And what I came up with on that 0:51:23.080 --> 0:51:27.719 campaign was let's do the remix album. Originally I thought, 0:51:27.840 --> 0:51:30.400 let's try and get out four weeks after the main album. 0:51:30.719 --> 0:51:34.480 Just drop it McCartney. Three Imagined was was our concept. 0:51:34.960 --> 0:51:37.359 And we just have a different artists, young artists, more 0:51:37.440 --> 0:51:42.200 established artists, just a real, very group of genres. Do 0:51:42.400 --> 0:51:45.640 each song that's on the record just for the fun offense, 0:51:46.200 --> 0:51:49.439 purely for the fun of it, no expectations, just trying 0:51:49.440 --> 0:51:50.879 to sort of all I said. All I was trying 0:51:50.920 --> 0:51:54.680 to do was keeping the conversation longer, you know, because 0:51:54.719 --> 0:51:56.880 there's no hit songs on this record. How do we 0:51:56.960 --> 0:52:00.440 keep people talking about it? But then this album became 0:52:00.480 --> 0:52:03.880 pretty good. Paul never, you know, wasn't really involved in it. 0:52:04.000 --> 0:52:05.560 He signed off and all the artists, this is who 0:52:05.600 --> 0:52:07.640 we're going to approach, great, love them, this is great. 0:52:08.160 --> 0:52:10.200 That was really his involvement, and we just went on. 0:52:10.360 --> 0:52:12.880 We made it. He loved every mix that came in 0:52:13.120 --> 0:52:15.439 and spoke to every artist. He wrote to them all 0:52:15.800 --> 0:52:19.279 was so grateful. Really was a fun project, but it 0:52:19.400 --> 0:52:22.319 took longer simply because of the final backboat. We could 0:52:22.400 --> 0:52:26.520 out five months after I think. Um. So that's the 0:52:26.560 --> 0:52:28.960 one time he kind of took his food off the 0:52:28.960 --> 0:52:31.239 guests a little bit and let his team, who are 0:52:31.320 --> 0:52:34.960 really established we all ran with it. Um. But otherwise 0:52:35.000 --> 0:52:39.880 he's all over everything, every detail, like you wouldn't believe. Okay, 0:52:40.120 --> 0:52:42.640 tell me two things you learned from him. You say 0:52:42.640 --> 0:52:44.920 you learned so much. I think when I first started 0:52:44.920 --> 0:52:49.200 working with Paul, it was one of those things where, yeah, 0:52:49.200 --> 0:52:51.200 it was maybe a little more cocky and confident. I 0:52:51.200 --> 0:52:52.840 thought it was good at what I did with the 0:52:52.920 --> 0:52:55.879 artist that worked with, you know, and I was I'm like, yeah, 0:52:55.920 --> 0:52:57.960 I'm happy, I'm I know what I'm doing. I'm pretty 0:52:57.960 --> 0:53:00.800 good at this. You know. I was my late dirties 0:53:00.840 --> 0:53:05.240 and I'm like, okay, I got this. And then he 0:53:05.680 --> 0:53:09.480 would call me at all Ours. You know that a 0:53:09.680 --> 0:53:11.800 PM on a Friday night, you know you've had a 0:53:11.840 --> 0:53:15.000 long week. You just get home, put your feet up, 0:53:15.640 --> 0:53:17.839 I'm gonna maybe have some dinner. I'm tired. It's been 0:53:17.840 --> 0:53:20.760 a long week. A lot of ours and he called 0:53:21.960 --> 0:53:24.279 and he's maybe in the car, maybe driving from the 0:53:24.280 --> 0:53:26.800 country up to town, up to London or something. Hey, 0:53:26.920 --> 0:53:29.440 how's it going. I'm like, yeah, great, great, he's gonna 0:53:29.480 --> 0:53:31.680 remember that thing we were talking about last week. You 0:53:31.680 --> 0:53:34.080 said you get back to me. Didn't hear from you? 0:53:34.120 --> 0:53:35.719 Where are we with that? And I'm like, let me 0:53:35.760 --> 0:53:38.040 get my notebook, but don't worry about it. Can call 0:53:38.120 --> 0:53:40.920 me Monday. Um. And you also said you were gonna 0:53:41.040 --> 0:53:44.080 call me on this thing and that thing. I said, uh, yeah, yeah, 0:53:44.080 --> 0:53:45.440 I haven't done that yet, you know. And I'm like, 0:53:46.680 --> 0:53:49.760 and I got the game. I'm like, that's how people 0:53:49.960 --> 0:53:54.759 don't survive. And he's always says you can call me anytime, 0:53:55.160 --> 0:53:57.560 seven days a week, night and day. I'm always here, 0:53:57.600 --> 0:54:00.080 and it's true. And he is that person you can 0:54:00.200 --> 0:54:04.080 calm nine am on a Saturday, tempt you on a 0:54:04.080 --> 0:54:07.759 Sunday something's going on, takes your call never, never doesn't 0:54:07.760 --> 0:54:09.640 take your call, or he'll text back say I'll call 0:54:09.680 --> 0:54:12.560 you back after this thing or whatever. I started playing 0:54:12.560 --> 0:54:14.200 the game back, I'd call him on a Saturday morning 0:54:14.239 --> 0:54:16.400 at nine am and say, hey, Paul, remember we spoke 0:54:16.640 --> 0:54:19.280 with this thing and you you're gonna sort of approve 0:54:19.480 --> 0:54:21.840 or not approve that, you know, so we need to 0:54:21.840 --> 0:54:24.480 move with it. Ye forgot about that. I'll get onto that. 0:54:24.880 --> 0:54:27.640 And and it was like playing ping pong, you know, 0:54:27.880 --> 0:54:29.920 instead of being aced all the time, you know, you 0:54:29.960 --> 0:54:33.680 started to play back and forth, back and forth. Um 0:54:33.719 --> 0:54:35.319 And I got the point where I'd have to write 0:54:35.400 --> 0:54:38.080 little basic notes because he could call yourn or somewhere 0:54:38.080 --> 0:54:40.279 you're in a restaurant, you know, and he wants to 0:54:40.320 --> 0:54:42.520 know the answers. I have all the answers. And then 0:54:42.560 --> 0:54:45.319 I just got the point where I felt like I 0:54:45.360 --> 0:54:46.920 was in top hall. But it took him in in, 0:54:47.560 --> 0:54:48.920 you know, at the point where you feel like your 0:54:48.920 --> 0:54:53.200 head bobbing underwater. You're like, then deliver, then deliver, and 0:54:53.200 --> 0:54:55.680 that just makes you better at your game, makes you 0:54:55.840 --> 0:55:00.840 more efficient. Um And through going through so many different 0:55:00.880 --> 0:55:05.200 experiences with him, and they are of PR. How he 0:55:05.480 --> 0:55:08.560 talked about PR having gone through from the Beatles through 0:55:08.600 --> 0:55:12.440 the present day creative PR games that you play things, 0:55:12.520 --> 0:55:17.520 I'm like, Wow, I learned they are are from him 0:55:17.600 --> 0:55:20.200 how to do it better and that translate to other 0:55:20.320 --> 0:55:22.640 artists what you need to do to make it connect 0:55:22.719 --> 0:55:25.480 and be better, you know, And because he is the 0:55:25.520 --> 0:55:28.440 master of it. He's been in the public eye for 0:55:28.480 --> 0:55:31.640 sixty years, you know, and at that point I would 0:55:31.680 --> 0:55:33.800 say he I would say he's an expert. At that point, 0:55:33.840 --> 0:55:37.000 it's more than ten, that's for sure. You said you 0:55:37.040 --> 0:55:39.919 also learned a lot from Barry Marshal the agent. Tell 0:55:39.920 --> 0:55:42.760 me a couple of things you learned there with Barry. 0:55:43.160 --> 0:55:48.040 Barry is the ultimate gentleman one. He knows his craft 0:55:48.400 --> 0:55:51.680 better than anyone else on the planet. He promotes shows 0:55:51.800 --> 0:55:54.240 all over the world. He's not just a British promoter 0:55:54.480 --> 0:55:58.759 or a British agent. And his attention to detail. If 0:55:58.840 --> 0:56:01.120 Paul has never been in the building, or he hasn't 0:56:01.160 --> 0:56:03.239 been in the building, he will fly there with our 0:56:03.239 --> 0:56:06.680 production manager and our tour accountant and they go through 0:56:06.719 --> 0:56:09.600 the building. They say, can we do the show? If 0:56:09.640 --> 0:56:12.080 we do the show, do we have enough of facility here? 0:56:12.360 --> 0:56:15.239 What is everything? They check everything. He flies around the 0:56:15.280 --> 0:56:18.719 world to check everywhere before he confirmed the show Number one, 0:56:19.400 --> 0:56:22.439 number two. We've done some really weird shows with Paul, 0:56:22.760 --> 0:56:25.719 really weird sort of you know, be a promo or 0:56:25.960 --> 0:56:29.560 fun of whatever the reason. Small clubs, you know, tiny 0:56:29.640 --> 0:56:32.840 little clubs or AMVA Records we've done all these weird shows. 0:56:33.280 --> 0:56:35.759 That is the one who goes in, Okay, this is 0:56:35.800 --> 0:56:37.640 going to be Poles dressing room, this is going to 0:56:37.719 --> 0:56:42.120 go here. They make it amazing, unbelievably, So he doesn't 0:56:42.160 --> 0:56:43.920 need to be doing that. There's other people on the 0:56:43.960 --> 0:56:45.719 team that can do that, but he's the one who 0:56:45.719 --> 0:56:49.879 walks through to make sure everything is perfect. When it's 0:56:49.920 --> 0:56:52.719 looking at ticketing and how your ticket shows, and if 0:56:52.760 --> 0:56:54.640 you're shore, you go into in his office, he has 0:56:54.680 --> 0:56:57.960 that full map. You know, say we've got some zone 0:56:58.000 --> 0:57:00.520 way up in the gods that hasn't been selling, he 0:57:00.719 --> 0:57:03.879 makes sure it's going to be sold. He also does 0:57:03.920 --> 0:57:08.239 things like every single show, without fail, always keep a 0:57:08.360 --> 0:57:10.880 few seats quite a few seats, like maybe a row 0:57:11.200 --> 0:57:14.120 right at the front that doesn't sell. He would go 0:57:14.160 --> 0:57:17.040 and pick people that he thinks are really great fans, 0:57:17.440 --> 0:57:21.560 reassigned them at front rows every show, so there's an 0:57:21.680 --> 0:57:25.720 energy there. Because one thing that every artist hates is 0:57:25.760 --> 0:57:29.120 the rich guy up front Cuson is iPhone type and 0:57:29.200 --> 0:57:31.880 emails because they also sees that guy in the front row, 0:57:32.320 --> 0:57:35.080 you know, so he they want to see real legitimate 0:57:35.120 --> 0:57:37.440 fans and when you bring people down from the gods 0:57:37.680 --> 0:57:40.440 who weren't expecting it. And then the front two or 0:57:40.440 --> 0:57:44.280 three rows changes the energy for the artist and baries 0:57:44.320 --> 0:57:48.040 the next Bert at that little detailed little things and 0:57:48.080 --> 0:57:51.920 it's like, wow, Okay, that's amazing, you know, because not 0:57:51.960 --> 0:57:53.840 a g A floor, it's it's you know, it's it's 0:57:53.880 --> 0:57:56.840 reserve seating. You know, where his reserve When it's g 0:57:57.000 --> 0:57:58.440 A and we have done a few g A quite 0:57:58.480 --> 0:58:01.080 a lot of stadiums in South America. You get the 0:58:01.160 --> 0:58:04.280 energy up front, but if it's reserve seats, he brings 0:58:04.280 --> 0:58:07.160 people down because all of those little things. You know, 0:58:07.320 --> 0:58:11.000 he's masterful of his job. Okay, what about Shania Twain 0:58:11.120 --> 0:58:13.760 who played Vegas, etcetera. What are you what about her? 0:58:14.440 --> 0:58:19.040 She is sort of the ultimate pro. Took time off 0:58:19.200 --> 0:58:22.040 when her son was born, stepped back from the industry 0:58:22.160 --> 0:58:25.000 as he got older, her son. You know, she's like, Okay, 0:58:25.040 --> 0:58:28.600 I'm ready again, I want to do this. Um. She 0:58:28.840 --> 0:58:32.919 loves Vegas mainly because she's a big horse rider. She's 0:58:32.960 --> 0:58:36.080 a life just outside of Vegas. Where should go riding? 0:58:36.600 --> 0:58:39.840 You know, it's just part of her global trek when 0:58:39.880 --> 0:58:42.840 she moves around the world. Um. So it's very much 0:58:42.840 --> 0:58:46.240 a lifestyle thing. She liked Vegas. She is her second 0:58:46.280 --> 0:58:49.320 residency in Vegas, and we'll run a residency all year 0:58:49.400 --> 0:58:51.640 this year and then look to go and do world 0:58:51.640 --> 0:58:55.600 through next year. That's the hope. UM. Hopefully there'll be 0:58:55.600 --> 0:58:59.000 a new album, you know, coming later this Year's fun 0:58:59.080 --> 0:59:01.880 of working with office like that is introducing them to 0:59:02.040 --> 0:59:06.240 new collaborators, you know, building new teams around them, giving 0:59:06.280 --> 0:59:10.880 them a new revival energy for what they do. Um. 0:59:10.920 --> 0:59:14.080 And not only that, she's very real. She's a great person, 0:59:14.400 --> 0:59:17.840 great person, hang out with boundless energy, a lot of 0:59:17.840 --> 0:59:20.000 fun to work with. And she's a worker. And you 0:59:20.160 --> 0:59:22.760 find this a lot of the office who have had 0:59:22.760 --> 0:59:25.720 the biggest successes, they work harder than the office who 0:59:25.720 --> 0:59:29.320 have had a marginal amount of their success. I'm not 0:59:29.400 --> 0:59:32.360 afraid to work. They know the game. What's your viewpoint? 0:59:32.360 --> 0:59:34.040 I'm Vegas. You know it used to be the old 0:59:34.120 --> 0:59:37.440 has beens now young people even people only you know, 0:59:38.080 --> 0:59:40.680 you know, ten years in or less, like Katy Perry 0:59:40.760 --> 0:59:43.480 go there. Do you think that's a good thing? To 0:59:43.600 --> 0:59:45.520 what degree? When you go in you have to worry 0:59:45.560 --> 0:59:48.920 about production? And of course for those on the inside 0:59:48.920 --> 0:59:52.880 game in Vegas, the ticket game is totally different. You know, 0:59:53.560 --> 0:59:56.080 if something doesn't instantly sell out, which is rare to 0:59:56.120 --> 0:59:58.760 begin with, you have to have whole network of you know, 0:59:59.200 --> 1:00:07.400 concier different price points, etcetera. Vegas is veggas cells. To 1:00:07.480 --> 1:00:09.800 be realistic, you've got to be looking at close to 1:00:09.840 --> 1:00:14.000 a hundred million tickets a year pretty COVID two million 1:00:14.040 --> 1:00:18.600 a week. That's Vegas. That's a real business for artists 1:00:18.760 --> 1:00:23.120 and promotors alike, and for the buildings. Then every single 1:00:23.160 --> 1:00:26.840 theater in Vegas, all of the the in house theater 1:00:26.960 --> 1:00:31.680 is not, including MGM Arena and Timobile Arena. Their stages 1:00:32.040 --> 1:00:35.280 are as big or bigger than most arenas, so you 1:00:35.280 --> 1:00:38.080 can put any size of production in there. I think 1:00:38.160 --> 1:00:41.320 Usher had like fifteen to seventeen trucks worth of the 1:00:41.320 --> 1:00:45.320 production in there. Huge amounts of production going there. It's unlimited, 1:00:45.840 --> 1:00:48.280 so you can do the stage whatever you would do 1:00:48.360 --> 1:00:50.320 in the biggest arenas in the world, you can do 1:00:50.320 --> 1:00:53.000 in any pretty much any theater in Vegas. So the 1:00:53.040 --> 1:00:58.160 facilities are really great and really production friendly. But then 1:00:58.200 --> 1:01:01.600 you've got to boil down the business. If the theater 1:01:01.800 --> 1:01:06.000 is between four and six thousand capacity, which mostly they are, 1:01:06.960 --> 1:01:11.800 that's still less than half the size of your Aragorina. 1:01:12.240 --> 1:01:15.000 So you're not going to sell as many tickets and 1:01:15.040 --> 1:01:17.320 you're not going to make as much money as say 1:01:17.680 --> 1:01:20.480 one Night am GM versus one night A planed a Hollywood. 1:01:20.920 --> 1:01:22.800 You're not gonna make the same money. No about how 1:01:22.840 --> 1:01:24.720 the tickets of scale, it's not going to be the same. 1:01:26.120 --> 1:01:29.480 So again I think artists like it because it could 1:01:29.520 --> 1:01:34.160 be a lifestyle situation, such as the Adele position. She's 1:01:34.200 --> 1:01:38.160 she's like a young young child. I think quin Stefani 1:01:38.320 --> 1:01:41.080 young child. You're Britney Spears with a couple of kids. 1:01:41.280 --> 1:01:43.760 They like to go work maybe in the weekends to 1:01:43.840 --> 1:01:45.800 fly home. They could fly back to l A then 1:01:45.840 --> 1:01:48.400 fly back. It's a fortwo minute fly so it's really 1:01:48.520 --> 1:01:51.520 friendly for them to be able to work, still be 1:01:51.560 --> 1:01:54.600 a mother and have a different kind of life without 1:01:54.800 --> 1:01:56.439 being on a bus and track and run the world 1:01:56.440 --> 1:01:59.520 for six months. So some people choose it for lifestyles, 1:01:59.560 --> 1:02:01.760 but then you boss is like being the Bruno Mars. 1:02:02.000 --> 1:02:05.240 You have Lady Gaga all these other shows. Katie Perry 1:02:05.640 --> 1:02:08.520 who also probably doing it for lifestyle because she's a 1:02:08.560 --> 1:02:10.600 young mom. You know, she can fly back and forth 1:02:10.600 --> 1:02:13.160 from her home and ever but a lot of artists 1:02:13.200 --> 1:02:15.840 on in that position and they may just go in 1:02:15.920 --> 1:02:18.320 and do I'm going to go in here for you know, 1:02:19.000 --> 1:02:21.160 I'll do twenty shows in a year, spread out over 1:02:21.200 --> 1:02:24.400 a few months. I think artists like it because Vegas. 1:02:24.760 --> 1:02:27.200 I think on average, I was quoted as stats about 1:02:27.680 --> 1:02:30.480 people at every show are not from Vegas. All people 1:02:30.480 --> 1:02:32.520 who have flown in, They've flown in for a weekend. 1:02:32.520 --> 1:02:35.160 They're gonna catch the Beatles Love Show or another set, 1:02:35.240 --> 1:02:37.240 this Live show or a David Copperfield show. Then I'm 1:02:37.240 --> 1:02:41.040 going to catch tonight twenty show or Bruna mar show 1:02:41.160 --> 1:02:44.400 or whoever happens to be playing. So that very much 1:02:44.440 --> 1:02:47.480 feels like Vegas. It feels like it's super active between 1:02:47.520 --> 1:02:51.040 Thursday and Sunday, then really quiet maybe between the Monday 1:02:51.080 --> 1:02:57.480 to Wednesday. Um. Do I like Vegas? Not really? Um, 1:02:57.520 --> 1:03:02.480 but I get it. I understand that. Is it sustainable 1:03:02.840 --> 1:03:06.440 that's another question because Vegas itself isn't a huge city. 1:03:07.120 --> 1:03:09.840 You can see it grow by the year, but in 1:03:09.920 --> 1:03:12.800 comparison to the major cities in the world, it's not 1:03:12.960 --> 1:03:16.320 that big. So is it sustainable to do a hundred 1:03:16.320 --> 1:03:19.280 million tickets a year? I don't know. Well, that hundred million. 1:03:19.320 --> 1:03:22.600 Can't get it hundering twenty million. Maybe, you know, let's 1:03:22.600 --> 1:03:25.040 talk of the new Sphere Arena opening there as well, 1:03:25.680 --> 1:03:28.200 just the third arena possible in the city. You know, 1:03:28.360 --> 1:03:31.440 they're they got the new Allegiance Stadium there where stadium 1:03:31.440 --> 1:03:33.240 shows are going. I'm not sure who's played there other 1:03:33.240 --> 1:03:35.360 than maybe golf, Brooks and guns and roles is so far, 1:03:36.200 --> 1:03:38.760 but there's another stadium there, you know, So that that 1:03:39.160 --> 1:03:41.720 city is growing in the growing in sports and trying 1:03:41.760 --> 1:03:44.360 to bring more sports teams there. And they've got the 1:03:44.400 --> 1:03:47.040 ice hockey team, you know, think they're trying to bring 1:03:47.080 --> 1:03:50.800 a basketball team there, you know. So, um, it's ambitious 1:03:50.840 --> 1:03:55.080 as a city. Um. No. Answering the last part of 1:03:55.080 --> 1:03:56.960 your question, I think I've got most of it, and 1:03:57.000 --> 1:03:59.320 now I think you gotta let me go one step 1:03:59.360 --> 1:04:02.880 deeper here, you know, starting god almost twenty years ago, 1:04:03.000 --> 1:04:07.520 even longer, touring for the absolute top tier change where 1:04:07.560 --> 1:04:10.720 they would base in a city maybe Chicago, and they 1:04:10.720 --> 1:04:14.520 take the jet every night to the different locations, and 1:04:14.560 --> 1:04:18.120 then we have Vegas. Do you think Vegas is sue 1:04:18.320 --> 1:04:22.120 generous just one thing or will the future be the 1:04:22.160 --> 1:04:25.240 acts of the fans coming to the acts as opposed 1:04:25.240 --> 1:04:27.400 to the acts going to the fans. Acts is they 1:04:27.400 --> 1:04:29.960 were going to go for the fans. That will never change. 1:04:30.440 --> 1:04:34.360 That will never change. It has ever changed through my lifetime, 1:04:34.640 --> 1:04:37.960 your lifetime, and it's not going to change. I think 1:04:38.520 --> 1:04:42.400 the residency concept can grow one office being based in 1:04:42.440 --> 1:04:45.480 one city, even if it's not Vegas. I think that 1:04:45.520 --> 1:04:49.080 can happen and people will travel depending on the office. 1:04:50.200 --> 1:04:52.520 But I don't think it's a model for every office. Okay, 1:04:52.600 --> 1:04:55.760 let's go back to the recordings. You know, Paul McCartney 1:04:55.800 --> 1:04:58.200 is a thing unto himself, not that he's in this equation, 1:04:58.240 --> 1:05:00.720 but if you go back to the paradigm was established 1:05:00.720 --> 1:05:03.680 in the seventies and refined in the eighties, you had 1:05:03.720 --> 1:05:07.720 an album come every three to four years, you win single, 1:05:07.840 --> 1:05:11.360 the single, up to five singles, whereas today you can 1:05:11.400 --> 1:05:15.400 put on an album and it's literally over in a weekend. Okay, 1:05:15.800 --> 1:05:18.760 So what's your view on release schedules? What's your view 1:05:18.800 --> 1:05:21.680 on putting out albums supposed to singles? What's your view 1:05:21.720 --> 1:05:24.760 in terms of what dropped once every three years, once 1:05:24.800 --> 1:05:27.280 every year, as opposed to every month. How do you 1:05:27.280 --> 1:05:31.120 feel about all that? I mean, you still gotta ball 1:05:31.160 --> 1:05:37.920 in down to basics. These singers, bands, artists. There are 1:05:38.160 --> 1:05:42.480 artists that that's their craft. They write songs, most of them. 1:05:42.520 --> 1:05:45.000 The load of young ones, there's four or five songwriters 1:05:45.000 --> 1:05:49.600 in each song. It's all studio based. It's great. Is 1:05:50.160 --> 1:05:53.640 that's a different lane people I work with their artists. 1:05:53.640 --> 1:05:56.880 It's been a long time writing, you know, and they 1:05:57.000 --> 1:06:00.080 constantly write. Then it's trying to figure out, well, how 1:06:00.160 --> 1:06:02.920 do we put this up? How much should we put out? 1:06:03.880 --> 1:06:05.880 And to your point, should we just do a whole 1:06:05.960 --> 1:06:10.080 bunch of singles? That doesn't resonate for certain artists and 1:06:10.160 --> 1:06:13.320 it really resonates for other artists. You know a lot 1:06:13.320 --> 1:06:16.120 of young artists, you know, they don't even care really 1:06:16.120 --> 1:06:18.800 about doing not doing albums. They can just put single left, 1:06:18.800 --> 1:06:21.680 a single after single after single and have a super 1:06:21.680 --> 1:06:25.680 healthy career. You look at DJs like Calvin Harris, one 1:06:25.720 --> 1:06:30.000 of the most successful recorded music artists of the past 1:06:30.040 --> 1:06:33.800 ten years. No one really cares about the albums because 1:06:33.800 --> 1:06:37.440 it's song driven, event driven. He does the show, it's 1:06:37.440 --> 1:06:40.480 an event. It's the biggest residency or maybe he goes 1:06:40.520 --> 1:06:43.240 on tour in a stadium somewhere in South America, whatever 1:06:43.320 --> 1:06:46.640 happens to be. That's a completely different business. It's just 1:06:46.680 --> 1:06:50.160 another silo um. But with the people that I work 1:06:50.240 --> 1:06:52.680 with and looking at the path turn as you say, 1:06:52.760 --> 1:06:55.120 maybe it's this album over three or four years, maybe 1:06:55.160 --> 1:06:58.600 it's you know, some music in between or separate projetrotects. 1:06:59.240 --> 1:07:02.600 Albums can come um really quick, one after the other. Well, 1:07:02.680 --> 1:07:04.439 you look at Paul, it was like two years from 1:07:04.760 --> 1:07:07.560 his Egypt station to McCartney three. It was two years. 1:07:08.480 --> 1:07:10.440 But then McCarty three wasn't planned. He was supposed to 1:07:10.440 --> 1:07:13.120 be on tour in Europe and doing Glastonbury that year, 1:07:13.320 --> 1:07:16.400 and there were a whole other plans, family stuff, private stuff, 1:07:16.400 --> 1:07:18.200 nothing to do with music at all. He had a 1:07:18.240 --> 1:07:21.640 whole year matth t there's no plan to do an album, 1:07:21.960 --> 1:07:25.680 just wasn't meant to be. But he's not one to 1:07:25.680 --> 1:07:27.560 sit around and just sort of put his feet up. 1:07:27.640 --> 1:07:29.840 He would go to the studio every day, which was 1:07:29.880 --> 1:07:31.880 around the corner from his house in England. You just 1:07:31.920 --> 1:07:33.680 go in there and he just sit and work away, 1:07:34.400 --> 1:07:36.760 clean up a few old things, working a few new things. 1:07:36.760 --> 1:07:39.720 And before you knew he had an album, and he 1:07:39.800 --> 1:07:41.720 wasn't sure he had an album yet. Think about it. 1:07:41.720 --> 1:07:43.840 He's got I got all these songs. I think it's 1:07:43.880 --> 1:07:46.960 an album. You know, that was the question, And I 1:07:47.000 --> 1:07:50.160 think that's the healthiest attitude to have a put a 1:07:50.160 --> 1:07:52.680 collection of songs here, we all sit down, what should 1:07:52.720 --> 1:07:54.960 we do with it? Should I put this out? Why 1:07:54.960 --> 1:07:57.920 should I put how to put it up? You know? 1:07:57.960 --> 1:08:01.040 So every artist has again you lumped them all into 1:08:01.080 --> 1:08:05.560 one formula or one system. I think you just got 1:08:05.600 --> 1:08:10.040 to take them all individually, see what their own desires 1:08:10.080 --> 1:08:12.920 and ambitions are for that music or that project, and 1:08:12.920 --> 1:08:16.639 try and help them realize it. So I'm game for anything. 1:08:16.680 --> 1:08:18.360 Whatever anyone wants to do it. So I was like, 1:08:18.680 --> 1:08:20.920 let's do it. Let's go with it. Okay, how many 1:08:21.000 --> 1:08:23.400 artists you have on the roster? Now? I have no idea? 1:08:23.960 --> 1:08:27.920 Um in Maverick, like we were a group of partners, 1:08:28.080 --> 1:08:31.479 we all have our own rosters. So I got my roster. 1:08:31.680 --> 1:08:35.880 We have some shared services, some shared staff. Um, so 1:08:36.040 --> 1:08:38.000 I is now and again dip in to help other 1:08:38.000 --> 1:08:39.960 people out. They might dip in to help me out, 1:08:40.600 --> 1:08:43.400 Like I'm quarterback in the red hole. Chili Pepper's record 1:08:43.439 --> 1:08:47.360 with guy right now? Um you know, so he's like, 1:08:47.479 --> 1:08:48.960 I haven't put an album for a few years. Can 1:08:48.960 --> 1:08:51.120 you help me on the album projectin't sure, you know, 1:08:51.160 --> 1:08:54.559 because I feel like I'm on the the album released 1:08:54.560 --> 1:08:57.599 treadmill of being very up to date with how certain 1:08:57.600 --> 1:08:59.439 records should be put up. So I help him and 1:08:59.520 --> 1:09:02.120 his team on that. It's good for me to do 1:09:02.240 --> 1:09:04.280 because it helps me stay on top of my game. 1:09:04.880 --> 1:09:07.439 It's not that complicated. I don't really deal with the band. 1:09:07.479 --> 1:09:10.320 I just deal with label and our team and what 1:09:10.400 --> 1:09:12.439 we should be doing on a global basis to try 1:09:12.479 --> 1:09:15.320 and make this record happen and deliver and be creative 1:09:15.360 --> 1:09:17.920 around it. So I see that as kind of fun 1:09:18.120 --> 1:09:21.880 for me. It's a big records, an amazing record, great band, 1:09:22.960 --> 1:09:26.439 um and so I do a bunch of that. But 1:09:26.439 --> 1:09:35.400 with my roster is Paul, It's Sny Twain, Andrea Chelli, Morrissey, Um, 1:09:35.439 --> 1:09:37.760 I got Andrea Chelli's son Mateo Rich Kelly, who we 1:09:37.800 --> 1:09:39.880 sugn to Capitol, who's just been putting a couple of 1:09:39.960 --> 1:09:44.519 singles as the Sirie Castleman, Sint Pierre Revo, the actress, 1:09:45.040 --> 1:09:49.760 and we had her music project with birth um and 1:09:49.800 --> 1:09:51.800 again that was sort of a fun thing. She's she's 1:09:51.800 --> 1:09:56.040 having so much success in film and television. Um, you 1:09:56.080 --> 1:09:58.519 know that she wanted to try music as a solo artist. 1:09:58.920 --> 1:10:01.040 It's going to take time because she's so busy in 1:10:01.120 --> 1:10:05.320 film and television. Um. And then across the company between 1:10:05.439 --> 1:10:08.519 you two Chili Peppers, Madonna is over on the guy 1:10:08.640 --> 1:10:12.479 side and the big country side, Clarence Baulding, Jason Oldeen, 1:10:13.120 --> 1:10:18.479 Danish Rucker, Reva McIntire, books and Done, Um, Morgan Wallen 1:10:19.000 --> 1:10:22.120 um Man with g Robertson trying to think his own 1:10:22.160 --> 1:10:24.880 jeez roster right now. You know he's in the hip 1:10:24.880 --> 1:10:28.960 hop world. Let's go back a few years. So you're 1:10:29.040 --> 1:10:33.759 running your own independent company and Irving as all starts 1:10:33.800 --> 1:10:38.080 to roll up management companies. And he had a very 1:10:38.120 --> 1:10:41.759 specific formula. You know, he wrote you a check based 1:10:41.800 --> 1:10:44.040 on certain revenues and you have to earn it out. 1:10:44.439 --> 1:10:48.360 What incent advise you to go from independent to going 1:10:48.680 --> 1:10:53.479 to work with Irving's actually sort of learned, you know, 1:10:53.520 --> 1:10:57.760 when you don't need the money, it's not financially driven. Um, 1:10:57.880 --> 1:11:01.080 you think, how do I actually grow what I'm doing? 1:11:02.439 --> 1:11:07.120 How do I build a bigger network? I always felt 1:11:07.720 --> 1:11:10.280 like some of my UK because I'm British, as you know, 1:11:10.960 --> 1:11:13.320 some of my UK manager colleagues like people like the 1:11:13.400 --> 1:11:16.120 Richard Griffiths of the world or E. Mcanderon all these 1:11:16.120 --> 1:11:21.200 other great UK managers. None of them spent other than 1:11:21.280 --> 1:11:24.439 Richard when he was at LABEL. Obviously, you had to 1:11:24.439 --> 1:11:27.439 spend time on the ground in the US if you're 1:11:27.439 --> 1:11:30.679 going to service your artists on a global basis, unless 1:11:30.680 --> 1:11:32.759 they were big enough where you just open an office 1:11:32.760 --> 1:11:34.719 in New staff and they're going to deal with everything 1:11:34.840 --> 1:11:38.000 over there. I wanted to be on the ground, and 1:11:38.120 --> 1:11:40.880 Irving gave me that ability. You know. I had an 1:11:40.880 --> 1:11:43.080 office in l A for about five or six years 1:11:43.439 --> 1:11:47.320 before I sorry in New York before I spoke with Irving, 1:11:48.200 --> 1:11:53.879 but just to sort of get a better level of connectivity, 1:11:54.160 --> 1:11:56.320 and he certainly helped me get that. You know, you 1:11:56.360 --> 1:11:58.000 want to learn from him. As soon as I did 1:11:58.000 --> 1:12:00.840 a deal with Irving, Roger Rains, who was part of 1:12:00.840 --> 1:12:03.800 Irving's team, based himself in my office, you know. And 1:12:03.960 --> 1:12:07.160 Roger I remember as a kid that was managing Buork 1:12:07.200 --> 1:12:10.479 and Roger was sort of CEO of Warner at the time, 1:12:11.479 --> 1:12:14.479 and being terrified going in to have meetings with him 1:12:14.479 --> 1:12:18.400 because he was a global chairman. Um to then have 1:12:18.560 --> 1:12:21.760 him in your office and have him help you. They 1:12:21.800 --> 1:12:27.479 are of dealmaking, They are of uh negotiation. Roger is 1:12:27.520 --> 1:12:30.720 a math genius. He is the one person who you 1:12:30.760 --> 1:12:32.960 can still have a cup of tea and he'll draw 1:12:33.000 --> 1:12:35.200 a whole deal with all the tax issues, everything on 1:12:35.240 --> 1:12:38.160 the back of a napkin. One of the most brilliant 1:12:38.200 --> 1:12:40.680 men I've ever worked with. So, having Roger in my 1:12:40.760 --> 1:12:45.240 office for six years, what I had learned it was invaluable. No, 1:12:45.520 --> 1:12:49.479 he became a real mentor to me, unbelievably growing. So 1:12:49.800 --> 1:12:52.360 that was my benefit really, you know, it was like, 1:12:52.520 --> 1:12:56.400 imagine you've going back to do do a master's you know, 1:12:56.479 --> 1:12:59.720 in your craft. That's what it was for me. So 1:12:59.760 --> 1:13:03.200 I think, if I want my game, if I want 1:13:03.240 --> 1:13:06.200 to work with bigger artists, more demanding artists, the only 1:13:06.200 --> 1:13:14.839 way I can do it is by being better myself. Okay, 1:13:14.920 --> 1:13:19.360 so Irving and Rapino or running Live Nation. Then it's 1:13:19.479 --> 1:13:24.040 Irving's out and it's just Rapino. And it evolves into 1:13:24.080 --> 1:13:28.559 what is now Maverick, what changed in their transition and 1:13:28.680 --> 1:13:32.400 is how is your business different under this heading as 1:13:32.400 --> 1:13:35.720 opposed to the old one. The whole Maverick concept was 1:13:36.000 --> 1:13:39.880 an easy one. Look at it as a collective. You know, 1:13:40.200 --> 1:13:43.719 it's not a corporation. It's a collective of like minded people. 1:13:44.280 --> 1:13:47.240 It's a knowledge based you know. And the concept of 1:13:47.320 --> 1:13:51.759 putting Maverick together again was really really simple on paper. 1:13:52.720 --> 1:13:55.559 Can we as a group of friends who all know 1:13:55.680 --> 1:14:01.120 each other long established relationships, can we together and this 1:14:01.280 --> 1:14:05.320 is nothing financial and nothing business like. Can we leverage 1:14:05.760 --> 1:14:08.800 the power of a lot of really big artists in 1:14:08.880 --> 1:14:13.080 different genres to create opportunity for them? That was the concept. 1:14:14.520 --> 1:14:17.120 You can we do better for our artists? Can we 1:14:17.200 --> 1:14:22.760 bring them more by trying to leverage them collectively? It 1:14:22.800 --> 1:14:24.960 could be a brand new start up. Imagine if it 1:14:25.000 --> 1:14:27.439 was Twitter Mark two. Oh, we all come off Twitter 1:14:27.479 --> 1:14:29.360 Mark one and go into Twitter Mark too. Can we 1:14:29.400 --> 1:14:34.679 get all the artist equity? Very very bad concerts suggestion there, 1:14:34.680 --> 1:14:38.000 But that was the concept. It was really really simple. 1:14:39.360 --> 1:14:43.040 What happens in those situations? Are some of the individuals 1:14:43.560 --> 1:14:49.800 become so astronomically successful because their artists are hitting and 1:14:49.840 --> 1:14:52.000 they get this and off they go And that's sort 1:14:52.000 --> 1:14:54.800 of okay because the whole concept was can we try 1:14:55.000 --> 1:14:59.240 and bring opportunity, which we did um for the artists, 1:14:59.680 --> 1:15:02.160 you know, And then it comes down to the core. 1:15:03.160 --> 1:15:05.679 We're all like minded, we all help each other out, 1:15:05.920 --> 1:15:08.799 we all have respect for each other, you know, and 1:15:09.520 --> 1:15:12.200 the business is exactly the same, nothing changed. It kind 1:15:12.200 --> 1:15:14.160 of works like a law firm. You have your own 1:15:14.160 --> 1:15:17.280 client roster. You could have a hundred clients, you have 1:15:17.320 --> 1:15:19.640 three clients, you have a hundred, you might earn more 1:15:19.680 --> 1:15:21.760 than the guys cut three, you know, So it just 1:15:21.840 --> 1:15:25.360 all downe to the individual and their motivation. I could 1:15:25.479 --> 1:15:29.240 really really type team that are very, very long established, 1:15:29.920 --> 1:15:32.160 you know. It's it's really like a family between London 1:15:32.200 --> 1:15:35.120 and l A great team of staff. How many people, 1:15:35.680 --> 1:15:39.920 uh tenoral living I think not alone, really tight if 1:15:39.960 --> 1:15:43.679 we need. Paul's team is different because Paul was very specific. 1:15:43.680 --> 1:15:45.880 When I work with him, he's he's He's like, I 1:15:45.920 --> 1:15:48.760 want you to build a team for me that I 1:15:48.880 --> 1:15:51.479 pay for so that when I fired you. This is 1:15:51.479 --> 1:15:53.680 my first ever meeting. So when I fired you just 1:15:53.680 --> 1:15:57.200 put someone else in and the teams there and I'm like, 1:15:57.960 --> 1:15:59.880 I kind of laughed, and I'm like, Okay, there's probably 1:16:00.000 --> 1:16:02.320 oone else in the world who could say that, And 1:16:02.360 --> 1:16:04.559 that's what we did. So we get a team about 1:16:04.560 --> 1:16:07.200 another ten people over on Pole's side who do nothing 1:16:07.240 --> 1:16:13.080 but Paul McCartney. UM, and very specific jobs as well. UM. 1:16:13.200 --> 1:16:16.719 We call it like a production company while the management company. UM. 1:16:16.760 --> 1:16:19.599 So everything he does is in house. His whole world 1:16:19.880 --> 1:16:22.519 is in the house. Nothing's out of house. All creative 1:16:22.520 --> 1:16:27.200 in house, all the photography, archiving, in management, the databasing, 1:16:27.360 --> 1:16:31.880 the the online team, everything is in house. They don't 1:16:31.880 --> 1:16:34.200 do anyone else by him, and he's probably the only 1:16:34.320 --> 1:16:36.920 artist who's in a position to do that, you know, 1:16:37.080 --> 1:16:39.679 and every other artist, no matter how big, they don't 1:16:39.720 --> 1:16:43.360 have that. They don't have that facility. So it works 1:16:43.360 --> 1:16:46.000 again like a law firm. We all work as hard 1:16:46.280 --> 1:16:48.400 or or not as hard as we want to work, 1:16:48.840 --> 1:16:50.680 and we get paid as much as we work or 1:16:50.760 --> 1:16:53.599 successful as our artists are. Okay, but in this particular case, 1:16:53.600 --> 1:16:56.879 you're mentioning helping guy out with red hot chili peppers, 1:16:57.600 --> 1:16:59.800 uh when you take them. But then guy helps me 1:17:00.000 --> 1:17:01.360 and other stuff as well, So it kind of goes 1:17:01.360 --> 1:17:03.880 back and forth. Okay, So there's not an issue of compensation. 1:17:04.000 --> 1:17:05.840 You don't feel like, Hey, I did this work I 1:17:05.840 --> 1:17:08.280 didn't get paid for. It really goes around because God 1:17:08.360 --> 1:17:12.439 brings opportunity for the office. Because he's such a big 1:17:12.840 --> 1:17:18.280 focus on start ups, tech and the whole new world 1:17:18.360 --> 1:17:20.840 that he loves being part of. And he's very successful 1:17:20.840 --> 1:17:25.040 at and none again. And he has an open door 1:17:25.160 --> 1:17:28.120 whenever there's big presentations, any of the office want to 1:17:28.120 --> 1:17:30.559 come in, anyone want to come and see this or 1:17:30.840 --> 1:17:33.160 something great that might be appropriate for this aufice of 1:17:33.200 --> 1:17:36.880 this aufice. So he's always bringing opportunities, you know, and 1:17:36.920 --> 1:17:41.440 he's great at introductions. He's just super network. The relationship 1:17:41.479 --> 1:17:43.799 really works. You know, we've been friends with twenty five years, 1:17:44.000 --> 1:17:47.960 um so it's not a new relationships. Traditionally management was 1:17:47.960 --> 1:17:53.920 either usually fifteen percent sometimes twenty. Irving charges fifteen percent 1:17:54.080 --> 1:17:57.760 with no contract. What do you charge and do you 1:17:57.800 --> 1:18:01.480 have a contract? In the very HEAs artists the artists, 1:18:01.920 --> 1:18:06.120 um I would say, there's two very distinct styles of commission. 1:18:06.520 --> 1:18:12.679 It was the European style, which was gross on advances 1:18:12.760 --> 1:18:15.920 and third party revenue. Say, if you did a deal 1:18:15.960 --> 1:18:18.920 with the sneaker company or whatever, it would be, but 1:18:19.000 --> 1:18:23.479 on touring, it will be of net after all costs. 1:18:23.520 --> 1:18:26.680 So the European model sounds like oh it's great, it 1:18:26.720 --> 1:18:31.360 actually works out less than across. You get lesson advances, 1:18:31.439 --> 1:18:37.440 but your number is known um so U style traditionally 1:18:37.439 --> 1:18:42.200 fift like dirving model and in Europe of cross advances, 1:18:42.240 --> 1:18:46.320 but net net on oud a mixture through my whole career, 1:18:46.560 --> 1:18:50.559 some UK European style. It's whatever makes you feel is 1:18:50.760 --> 1:18:55.600 making the artice happy. Have some deals in I have 1:18:55.680 --> 1:18:59.559 no contracts because if you're not any good or it 1:18:59.560 --> 1:19:02.160 doesn't work, okay, take hands and you can move on. 1:19:03.360 --> 1:19:07.040 You know, I would never litigate against an artist, no 1:19:07.040 --> 1:19:10.080 matter how badly you may be worked over, because the 1:19:10.080 --> 1:19:12.439 first thing that people will do today, if you're an artist, 1:19:12.840 --> 1:19:15.519 I'm gonna google this guy and the last thing you 1:19:15.520 --> 1:19:18.040 want to see is so and so is suing this 1:19:18.240 --> 1:19:21.840 office is for non payment of commission or something. And 1:19:21.840 --> 1:19:24.479 it's like, I'm not going to go work with that guy. 1:19:24.760 --> 1:19:27.160 I think you always want to put the office first. 1:19:27.560 --> 1:19:29.720 They're not always right, but you still want to support them, 1:19:29.960 --> 1:19:32.479 and the office comes first. Model is always work for me. 1:19:33.360 --> 1:19:35.840 Um and I have this argument with some promoters that 1:19:35.840 --> 1:19:38.160 they believe it or not. It's like you're really not 1:19:38.240 --> 1:19:41.960 gonna let them hit their bonus points because there were 1:19:42.000 --> 1:19:45.920 a thousand dollars on the threshold. The artist friendly look 1:19:45.960 --> 1:19:49.240 after the artist. Artists comes first, look after them. Everything 1:19:49.320 --> 1:19:53.919 else works out. So again, different styles of deals. Sometimes 1:19:53.960 --> 1:19:57.160 it's not commission on every revenue stream. Sometimes it's different 1:19:57.160 --> 1:20:01.519 commissions on different revenue streams. It's gotten really complex. So 1:20:01.520 --> 1:20:04.120 what we have to do even with no contract, just 1:20:04.160 --> 1:20:07.400 a basic term of agreement. This is how we agree 1:20:07.520 --> 1:20:10.240 to be compensated. And if something is not work can 1:20:10.280 --> 1:20:13.360 you go back and say this is great, let's change it. 1:20:13.360 --> 1:20:15.320 It's too little because this is what we brought in 1:20:15.320 --> 1:20:18.200 in this field and it always gets worked up. You 1:20:18.240 --> 1:20:21.280 just have to have that healthy conversation. Let's talk about 1:20:21.320 --> 1:20:25.400 promotion deals. You know, there was the roll up that 1:20:25.439 --> 1:20:31.120 will ultimately became Live Nation. Ultimately uh, Philly and Shouts 1:20:31.160 --> 1:20:35.439 brought concerts west, it became a G. Now you have 1:20:35.560 --> 1:20:39.599 certain philosophies, the Q prime philosophy where we would rather 1:20:39.680 --> 1:20:42.559 go market by market, work with the independence and we 1:20:42.600 --> 1:20:47.160 can make more money uh going that way. Then there's 1:20:47.360 --> 1:20:51.639 most of the big acts are taking national or international tours, 1:20:51.720 --> 1:20:54.479 making a deal with Live Nation or a G. What 1:20:54.680 --> 1:20:58.000 is your philosophy? Again, there's no one size fistul It 1:20:58.080 --> 1:21:01.600 is down to the office. A lot of artists like 1:21:01.680 --> 1:21:05.840 saying we take Paul mccarny do a monster Live Nation 1:21:06.000 --> 1:21:08.040 or a Monster a G deal if he wanted to, 1:21:08.400 --> 1:21:13.200 but chooses not to. Still likes to work with all 1:21:13.360 --> 1:21:17.599 of the independence that he has history with. Shows will 1:21:17.600 --> 1:21:21.040 always be mixed up between Live Nation and a G 1:21:21.439 --> 1:21:24.519 sometimes with the promoter who was brought into one of 1:21:24.560 --> 1:21:29.000 their folds. Very loyal tries to flip Eastern West Coast 1:21:29.000 --> 1:21:31.519 shows unless there was a G. The stem up Live 1:21:31.640 --> 1:21:35.479 Nation tries to keep a level playing field. Some artists, 1:21:36.080 --> 1:21:38.680 even the ones that I don't work with, like to 1:21:38.720 --> 1:21:41.920 do that huge deal. Maybe it's jay Z, maybe it's 1:21:41.960 --> 1:21:44.880 Beyonce or whoever. They'll like to do that deal with 1:21:44.960 --> 1:21:47.800 a big check. And I'm trying to see that from 1:21:47.840 --> 1:21:50.000 the office point of view. If someone brought your check 1:21:50.040 --> 1:21:52.880 for a hundred million dollars, a childred million dollars, I'm 1:21:52.920 --> 1:21:57.200 sure if you're smart business advisors, that money over the 1:21:57.240 --> 1:22:00.320 course of a year could be really well and ested. 1:22:00.760 --> 1:22:04.600 So maybe that money as equity at the start is 1:22:04.720 --> 1:22:07.320 right for that specific artists, Whereas if you go through 1:22:07.439 --> 1:22:13.960 the c Prime model market by market, promoter by promoter um, 1:22:14.000 --> 1:22:16.439 that might just be their philosophy, and that's okay if 1:22:16.439 --> 1:22:19.000 it's right for that artist, because they'll have that conversation 1:22:19.040 --> 1:22:20.639 with the artist, this is how we want to do it. 1:22:20.800 --> 1:22:23.519 Are you good with that? You know? Whereas but the 1:22:23.600 --> 1:22:26.080 cute prime model metallicas seem to do more Live Nation 1:22:26.120 --> 1:22:29.880 shows than independent shows, different internationally than it is in 1:22:29.920 --> 1:22:32.680 the US. So I think there's no one size at all. 1:22:33.360 --> 1:22:36.120 You know, some promoters get the big ones a G 1:22:36.240 --> 1:22:38.920 and Live Nation will get aggressive on Feast for certain 1:22:38.960 --> 1:22:42.519 tours and I bid each other. Um, so the authors 1:22:42.560 --> 1:22:45.559 tends to win in that instance if they go with 1:22:45.560 --> 1:22:52.160 one of those promoters. Um, I'm sort of fairly never 1:22:52.160 --> 1:22:54.519 been the same no matter who it is. If the 1:22:54.640 --> 1:22:57.599 artice has history, they love a specific promoter, well that's 1:22:57.600 --> 1:23:00.240 just going to do their show. That Sigma around the Okay, 1:23:00.280 --> 1:23:02.519 he's always done our true that's who's going to do it, 1:23:02.920 --> 1:23:05.320 you know. Or if it's Ja Marciano in the US, 1:23:05.680 --> 1:23:08.240 let's just do it and we work with Jason's Universal 1:23:08.280 --> 1:23:11.200 Concidize or something. Whatever the office wants to do, you 1:23:11.240 --> 1:23:14.519 make it work, there's no question. You know, it's like 1:23:14.600 --> 1:23:18.720 you want harmony. The record company situation has changed, you know, 1:23:18.800 --> 1:23:21.559 with the New century. Used to be pretty much certainly 1:23:21.600 --> 1:23:23.479 in the US, you were dead in the water as 1:23:23.520 --> 1:23:28.880 an independent without going into why, uh, everything is up 1:23:28.920 --> 1:23:32.760 for grabs now, Okay, anybody can get their record distributed 1:23:33.000 --> 1:23:37.719 through tune Core or another CD baby, etcetera. The major 1:23:37.840 --> 1:23:41.200 labels tend to sign things that have already been developed 1:23:41.200 --> 1:23:46.240 online as opposed to developing things themselves. And you can 1:23:46.280 --> 1:23:49.439 negotiate for things that were harder to negotiate for before, 1:23:49.880 --> 1:23:54.840 you know, return of rights, owning masters, higher percentage royalty. 1:23:55.000 --> 1:23:58.040 What is your view on whether you need a label 1:23:58.160 --> 1:24:00.920 or not and whether to sign or not and what 1:24:01.040 --> 1:24:03.559 kind of deal you can make? Again, I feel like 1:24:03.560 --> 1:24:06.080 I'm a broken record here. It stands an individual artist 1:24:07.080 --> 1:24:12.160 having done every single conceivable deal known to man with 1:24:12.280 --> 1:24:16.280 different artists, and and did this a lot with Arcade Fire, 1:24:16.439 --> 1:24:18.639 who I worked with for twelve years or so, who 1:24:18.640 --> 1:24:21.800 did that, did their first five albums, and in the 1:24:21.800 --> 1:24:25.200 beginning they had eight different licenses that you know, on 1:24:25.240 --> 1:24:27.640 their first album they paid for it themselves, licensed to 1:24:27.680 --> 1:24:33.960 eight different labels, and they ended up being paid probably 1:24:35.000 --> 1:24:37.439 for selling about a million albums worldwide. They probably got 1:24:37.439 --> 1:24:41.519 conversated on the five million albums, so they were really, really, 1:24:41.560 --> 1:24:45.280 really well paid because of the nature of their independent deals. 1:24:45.920 --> 1:24:48.479 Now that feels like a bit of an anomaly because 1:24:49.000 --> 1:24:53.400 that was a physical buying market along with Apple digital downloads. 1:24:53.640 --> 1:24:56.200 This is pre streaming, you know, in two thousand five, 1:24:56.240 --> 1:24:59.320 two six, when the first album came up, and they 1:24:59.439 --> 1:25:04.840 really benefited from that all the way through every album 1:25:04.840 --> 1:25:07.479 that came out until probably their last album, you know, 1:25:07.479 --> 1:25:12.000 when streaming was really the most dominant partner. Um by 1:25:12.120 --> 1:25:16.840 being creative with all of their independent deals. When they 1:25:16.960 --> 1:25:21.320 finally went over to major deal, they had split territory deals, 1:25:21.479 --> 1:25:25.400 really short licenses, five year licenses, records come back. So 1:25:25.479 --> 1:25:29.920 in my short twelve years with this band, did the 1:25:29.960 --> 1:25:32.640 same with publishing. Publishing deal ends. Oh we're going to 1:25:32.720 --> 1:25:35.200 sign the whole catalog again. There are three albums, are 1:25:35.200 --> 1:25:38.960 four albums. They really reaped the reward from owning the 1:25:39.040 --> 1:25:42.880 masters so they can be super creative. When they were 1:25:43.000 --> 1:25:46.920 that hot commodity, every major wanted to sign and overpay 1:25:47.000 --> 1:25:51.120 for but really short licenses. They signed the catalog, they 1:25:51.120 --> 1:25:54.160 pull it back, signed a new album, catalog would start 1:25:54.200 --> 1:25:58.880 reverting from another label. Really really creative deals. So that's 1:25:58.920 --> 1:26:04.559 that's probably one of the most exciting unusual situations I've 1:26:04.600 --> 1:26:06.599 ever dealt with and again I learned a lot from it. 1:26:08.160 --> 1:26:12.280 Today new artists, let's say Seceria, who we work with, 1:26:12.760 --> 1:26:15.479 imagine Daniel hadn't introduced me to and she had no 1:26:15.560 --> 1:26:21.120 record deal. We could do anything that we wanted to do. Now, 1:26:21.560 --> 1:26:24.720 if you go with a model where you just want 1:26:24.720 --> 1:26:26.880 to own all yourself and work it yourself, we need 1:26:26.920 --> 1:26:30.320 a bit of capital for marketing and video, and you know, 1:26:30.400 --> 1:26:32.320 we could do like a rights deal with b MG 1:26:32.640 --> 1:26:34.920 or whoever. If we didn't really want to enter into 1:26:34.960 --> 1:26:38.200 long term negotiation, we could do that. You know, it's 1:26:38.240 --> 1:26:41.360 a lot more work on the artist team, huge amount 1:26:41.400 --> 1:26:46.639 of work, more staff, resources becomes really expensive. But then 1:26:46.640 --> 1:26:49.040 you have to look at how competitive are you and 1:26:49.080 --> 1:26:50.920 that's where the major labels come in. If you have 1:26:50.960 --> 1:26:55.480 an artist who's really competitive, they have a big project, 1:26:55.640 --> 1:26:59.320 they really want it delivered globally, not just us, they 1:26:59.360 --> 1:27:04.280 want to globally delivered. You need a major label, I think, UM. 1:27:04.400 --> 1:27:08.240 And the reason for that is they're just so streamlined 1:27:08.720 --> 1:27:11.439 in the way that they work today. You find your team, 1:27:11.520 --> 1:27:15.040 you have a great team. You know, everything works really 1:27:15.080 --> 1:27:19.720 really efficiently. UM. You actually save money on because of 1:27:19.760 --> 1:27:22.000 the amount of ad space they buy each year. Their 1:27:22.080 --> 1:27:25.160 their cost per ad is way more efficient than something 1:27:25.160 --> 1:27:26.960 that you r I could go and buy tomorrow for 1:27:27.040 --> 1:27:29.680 the same space because they buy it more weeks a 1:27:29.720 --> 1:27:32.160 year than you or I would buy, So you cost 1:27:32.200 --> 1:27:35.280 them down a little bit. More opportunity will come to 1:27:35.360 --> 1:27:37.719 them because those companies are so big now. They because 1:27:37.760 --> 1:27:43.519 such you know, unique dedicated departments that work on you know, like, hey, 1:27:43.560 --> 1:27:48.200 I'm only work with you know, apps and right share companies, 1:27:48.240 --> 1:27:51.120 and this is an opportunity to command and like all 1:27:51.160 --> 1:27:53.479 the stuff you can't do on your own. If you're 1:27:53.479 --> 1:27:56.680 really depend you've just made a cool little record and 1:27:56.720 --> 1:27:59.040 you're happy with that. You think we're gonna sell ten 1:27:59.080 --> 1:28:02.880 thousand of these equivalents. We want to be paid five 1:28:02.920 --> 1:28:05.920 dollars a unit equivalent. You might just do it yourself 1:28:05.960 --> 1:28:08.760 and then you're happy with that, you know. So it's 1:28:08.800 --> 1:28:11.639 all depends on the autice and how they want to compete. 1:28:12.320 --> 1:28:14.200 A lot of authors I find there like, no, we 1:28:14.240 --> 1:28:16.000 want to be huge, We really want to be huge. 1:28:16.000 --> 1:28:18.400 At that point, you've got to think, Okay, how do 1:28:18.479 --> 1:28:21.479 we get them there and not be too concerned. Be 1:28:21.520 --> 1:28:24.360 concerned about the rights and the rights management, but don't 1:28:24.400 --> 1:28:27.120 be too concerned about how much money you're going to 1:28:27.200 --> 1:28:30.160 make off that album if you're agenders. Okay, let's go 1:28:30.200 --> 1:28:32.559 back to the beginning. So where did you grow up. 1:28:32.840 --> 1:28:35.240 I grew up in Glasgow, Glasgow? Okay, what was your 1:28:35.280 --> 1:28:38.120 family situation, what your parents do for living? How many 1:28:38.200 --> 1:28:41.120 kids in the family. My mom and dad split when 1:28:41.160 --> 1:28:44.240 I was six. My dad remarried when I was twelve. 1:28:44.320 --> 1:28:46.799 My mom was a hairdresser. My dad was a cooper, 1:28:47.160 --> 1:28:51.360 so he made barrels for whiskey. He made what, um barrels, 1:28:51.400 --> 1:28:57.960 wooden barrels. Really yeah, um, which was kind of fun. Actually, 1:28:59.000 --> 1:29:01.360 I never drink whiskey because I think instead of just 1:29:01.680 --> 1:29:06.120 surrounded by as a kid, um, and you drink beer, yeah, 1:29:06.439 --> 1:29:09.799 drink wine of love. Tequila does not whiskey. Yeah, Whiskey 1:29:09.920 --> 1:29:11.680 is just it was like everywhere I felt like it 1:29:11.760 --> 1:29:13.759 was surrounded by it when I was a kid because 1:29:13.960 --> 1:29:16.439 that was my dad's industry. Uh. And I get two 1:29:16.439 --> 1:29:19.800 half brothers and half sister. One lives in Melbourne, one Australia, 1:29:19.840 --> 1:29:22.200 one lives in leon and France and once they lives 1:29:22.200 --> 1:29:25.559 in Glasgow. My mom still lives in Glasgow. My dad 1:29:25.600 --> 1:29:29.439 passed on. You're growing up in Glasgow. Are you a 1:29:29.439 --> 1:29:34.160 good student? Bad student? Popular? Not popular? Popular student, not 1:29:34.320 --> 1:29:39.080 the best student? Because I got distracted. There's there's two 1:29:39.200 --> 1:29:42.519 school levels in the UK. There's no middle school, so 1:29:42.560 --> 1:29:45.599 it's essentially primary school and secondary school. There's no middle 1:29:45.600 --> 1:29:51.120 school before high school. So that probably when I was 1:29:51.200 --> 1:29:56.680 about living twelve years old, discovered funk groper music. You know, 1:29:56.680 --> 1:29:58.680 it was the Clash, it was the sex pistols, it 1:29:58.720 --> 1:30:02.720 was Ramons, everything that came, and then enjoy Division came 1:30:02.760 --> 1:30:05.320 after that and it was like I just got consumed. 1:30:06.240 --> 1:30:09.880 And the whole strategy at that point was how can 1:30:09.920 --> 1:30:12.599 I go and see all these bands play live with 1:30:12.640 --> 1:30:15.040 me and my friends? So we go and see every 1:30:15.040 --> 1:30:18.599 show that came through tom There was a lot of them. Um, 1:30:19.160 --> 1:30:22.160 we would travel to go see shows. You know it 1:30:22.479 --> 1:30:25.599 that became the obsession and then you're instead of high 1:30:25.600 --> 1:30:28.080 school bands, you're trying to how do we make this? 1:30:28.160 --> 1:30:29.960 I want to be a rock star. Okay, so how 1:30:30.000 --> 1:30:32.479 did you pick up an instrument? And what were you 1:30:32.520 --> 1:30:34.639 in the band? My my dad bought me a guitar 1:30:35.040 --> 1:30:37.559 or the cost thirty pounds. It wasn't very good, but 1:30:37.640 --> 1:30:39.719 that was it. I brought an amplifier for five pounds 1:30:39.720 --> 1:30:41.439 for a friend of a friend. It was terrible, you know. 1:30:41.439 --> 1:30:43.559 It was really small one and you know, and you 1:30:43.640 --> 1:30:45.439 just sit in your bedroom with song books and trying 1:30:45.439 --> 1:30:48.040 to listen to records and then make the records. You know. 1:30:48.360 --> 1:30:50.880 I was I could pass, but I wasn't that great. 1:30:51.320 --> 1:30:54.920 You've learned pretty soon you're not that great. Okay, So 1:30:55.080 --> 1:30:59.559 you finished secondary school. What's your next what's your next move? Um? 1:30:59.600 --> 1:31:01.880 I went to London to stay with a friend for 1:31:01.880 --> 1:31:04.360 a weekend and then went back. Now you're in London, 1:31:04.400 --> 1:31:06.400 what's what's your viewpoint? What's your agenda? What are you 1:31:06.439 --> 1:31:09.400 gonna do? Immediately it's like, I'm like, okay, I got 1:31:09.400 --> 1:31:11.960 to find a job, just try and pay rent. My 1:31:12.040 --> 1:31:15.200 friend had an apartment, found a job in a photography 1:31:15.200 --> 1:31:19.040 studio doing that, which was really cool and I was 1:31:19.080 --> 1:31:22.320 really well paid for my age. My dad said he 1:31:22.400 --> 1:31:27.479 give me a gap year between school and university. Um, 1:31:27.520 --> 1:31:29.240 and I'm like okay. So I sort of had his 1:31:29.280 --> 1:31:31.960 blessing slightly. I was sort of being groomed to be 1:31:32.000 --> 1:31:37.240 an accountant. And I was friends with this band on 1:31:37.360 --> 1:31:40.880 four a D part of Martin Mills Empire. It was 1:31:40.960 --> 1:31:44.800 run by Iva wats Russell, and I was friends with 1:31:44.840 --> 1:31:48.280 the band of cop to the Twins. Robin got Freelizbeth Fraser. 1:31:49.600 --> 1:31:52.240 Robin still one of my best friends to this day. 1:31:52.479 --> 1:31:55.439 And they stayed in our apartment for a while because 1:31:55.439 --> 1:31:57.120 they were trying to find a place to live in London. 1:31:57.200 --> 1:32:00.479 There were also Scottish stay closed for about six months, 1:32:00.720 --> 1:32:04.880 you know, and I'm super fun time. And then Robin said, hey, 1:32:04.920 --> 1:32:07.080 there's a band on our label who are auditioning for 1:32:07.120 --> 1:32:10.320 bass players. You should go do it. And I did 1:32:10.600 --> 1:32:12.360 and I got in the band. So I left the 1:32:12.520 --> 1:32:15.080 Toby studio job. This is all within six months of 1:32:15.200 --> 1:32:18.240 moving to London, and I joined the band who were 1:32:18.280 --> 1:32:22.000 still going m a band called Dead Can Dance who 1:32:22.080 --> 1:32:25.599 was sort of this early and he's so I wasn't 1:32:25.640 --> 1:32:27.599 Deck and Dance for the first two albums. What did 1:32:27.600 --> 1:32:30.880 your father say about the gap you're knowing the university? Well, 1:32:31.760 --> 1:32:34.040 he wasn't cool about it. He's like, okay, and then 1:32:34.040 --> 1:32:35.439 we put a record on it, and all right, you 1:32:35.520 --> 1:32:37.519 got a record on And he came to see us 1:32:37.560 --> 1:32:39.960 play alive and he's seen there were like two and 1:32:39.960 --> 1:32:43.040 a half thousand people there and he's like actually they 1:32:43.120 --> 1:32:45.360 kind of liked you, and I said, yeah, we're doing okay. 1:32:46.640 --> 1:32:49.080 He went, all right, he gave me a bit more rope. 1:32:50.160 --> 1:32:53.960 He just kept feeding it because he actually seen that 1:32:54.320 --> 1:32:56.160 it didn't look as though I was wasting my time 1:32:56.240 --> 1:33:01.600 just you know, being a lay about doing nothing. Um 1:33:01.720 --> 1:33:04.080 very quickly and this is a moly, but the time 1:33:05.000 --> 1:33:08.160 years old or something very quickly learned, once you start 1:33:08.200 --> 1:33:11.879 playing festivals or you're playing with other bands, were really amazing. 1:33:13.800 --> 1:33:17.120 You sort of figure out actually and kind of just 1:33:17.520 --> 1:33:20.160 getting by. Here am I going to get caught up 1:33:20.160 --> 1:33:23.240 because I'm not that good? It's good fun. And everyone 1:33:23.240 --> 1:33:24.960 in the band was five years older than me, which 1:33:24.960 --> 1:33:28.479 seems like ancient at that age. You know, it's not 1:33:28.640 --> 1:33:30.800 as you're an adult, but when you're really young, five 1:33:30.920 --> 1:33:34.040 years is a long time. They were. I was the 1:33:34.080 --> 1:33:40.000 youngest kid there, and I decided it's time I'm stepping 1:33:40.000 --> 1:33:42.960 back because they were going to musical direction. That wasn't 1:33:43.000 --> 1:33:45.799 really the guitar based drums set up. It was definitely 1:33:45.840 --> 1:33:51.160 more orchestrated and more sort of ambitious. And then I 1:33:51.280 --> 1:33:54.280 started to at that point I was a shift to management. 1:33:54.280 --> 1:33:58.360 I was friends with the bandages in marriage and they've 1:33:58.360 --> 1:34:01.679 just been taken on by Chris Morrison. Chris Morrison, who 1:34:01.960 --> 1:34:05.680 again another mentor of mine, great, great, great manager who 1:34:05.680 --> 1:34:10.200 has retired now, who in the eighties managed Living in 1:34:10.200 --> 1:34:13.679 a Box that Are Alive, Thin Lizzing from the seventies 1:34:13.720 --> 1:34:16.519 through eighties Ultra Box. He had had this huge, huge, 1:34:16.840 --> 1:34:21.120 monstrous success, but could see the tide shifting, so he 1:34:21.280 --> 1:34:25.800 went in this more rock alternative zone and he took 1:34:25.800 --> 1:34:29.160 on Jesus, Mary Chane. He took on Blur that became Guerrillas. 1:34:29.880 --> 1:34:33.600 We're still going but Damon from Guerrillas. So he was 1:34:33.640 --> 1:34:37.840 able to anticipate sort of the shift from what was 1:34:37.880 --> 1:34:40.720 going on. And I started working with Jesus and Mary 1:34:40.800 --> 1:34:42.960 Change because they were friends. And then I worked with 1:34:43.080 --> 1:34:46.680 Chris for a number of years and that kind of 1:34:46.720 --> 1:34:49.400 became my start of working in management and working for 1:34:49.560 --> 1:34:53.679 other managers, some really really great, some not so great. 1:34:53.760 --> 1:34:56.200 But that was kind of my schooling until I started 1:34:56.200 --> 1:34:59.040 on my own when I was about twenty five. Okay, 1:34:59.040 --> 1:35:01.240 what was your motivation and what do you do for acts? 1:35:03.080 --> 1:35:05.280 Going independent? Oh, that's when I started. That's when I 1:35:05.280 --> 1:35:08.400 started company. It was the hardest thing. The hardest thing 1:35:08.720 --> 1:35:11.160 was to get because you know what it's like. We 1:35:11.520 --> 1:35:15.080 had a conversation on commission splits. So let's say your young, 1:35:15.280 --> 1:35:18.840 hot new band. You're like, they're going to choose a 1:35:18.960 --> 1:35:23.080 Richard Griffiths who's called you know, Global Success, or they 1:35:23.160 --> 1:35:26.519 choose an Ian Montone or a John Silva, you know, 1:35:26.840 --> 1:35:29.200 or they go to Cute Prime. All these big companies. 1:35:29.280 --> 1:35:32.320 Everybody wants you and they all charge. Is saying, right, 1:35:32.680 --> 1:35:34.839 I'll to go with this kid who has no company, 1:35:35.000 --> 1:35:37.840 no track record. He charges the same as everybody else 1:35:37.880 --> 1:35:40.320 as well. Who do we choose? And that's always the 1:35:40.600 --> 1:35:45.200 tough thing, you know, And it's worked to my benefit 1:35:45.360 --> 1:35:48.800 a few times by not being the biggest guy in 1:35:48.840 --> 1:35:52.080 the room. You know, like the best opportunities to me 1:35:52.120 --> 1:35:54.639 has happened because I wasn't the biggest guy in the room. Okay, 1:35:54.680 --> 1:35:57.559 so you go independent with what acts? And then what 1:35:57.560 --> 1:35:59.439 do you do next? The first two at first two 1:35:59.479 --> 1:36:01.879 acts I had was one was called the Sneaker Pimps, 1:36:01.920 --> 1:36:05.760 who had one one very big hit single off the 1:36:05.760 --> 1:36:08.120 back of the movie The Saint the Belcolm or movie 1:36:08.120 --> 1:36:10.479 the same and the had a song called six on 1:36:10.600 --> 1:36:13.760 the Ground that I got to think top five in 1:36:13.760 --> 1:36:16.240 the US the album went top five. I think we 1:36:16.320 --> 1:36:18.880 did about a million albums in the US. You know, 1:36:19.000 --> 1:36:21.800 we were I think we never have had a number one, 1:36:21.840 --> 1:36:24.519 but we're always top five aorund the world. And that 1:36:24.600 --> 1:36:26.519 was in the days of when there was so much 1:36:26.560 --> 1:36:29.080 money in movie promotion. They flew the band around the world, 1:36:29.160 --> 1:36:33.639 play every premiere, Premier in Madrid, premier in Paris, premier 1:36:33.680 --> 1:36:36.360 in the premier New York. So this band sort of 1:36:36.760 --> 1:36:39.400 started getting you know, we're flying around the world doing 1:36:39.560 --> 1:36:43.280 most of promo at a movie company's expense. And probably 1:36:43.280 --> 1:36:45.360 about six months after it took them on, I took 1:36:45.360 --> 1:36:47.439 on Pure so be York could be in the Sugar 1:36:47.560 --> 1:36:49.640 Cubes if I work with at the time, so we 1:36:49.640 --> 1:36:52.000 had an established relations. Okay, so you worked with Sugar 1:36:52.120 --> 1:36:54.320 Sugar Cubes when you work for the other company. And 1:36:54.400 --> 1:36:58.960 she ultimately decided to go independent, leave the band. Were 1:36:59.000 --> 1:37:01.920 you part of that? She came to you and said, hey, 1:37:02.080 --> 1:37:05.200 I'm independent. It was very much a case of we 1:37:05.360 --> 1:37:10.000 just caught up socially, hanging out, went for lunch and 1:37:10.080 --> 1:37:12.000 she said, you know, we just said she didn't had 1:37:12.040 --> 1:37:13.200 what he'd been up to, and I went, well, I 1:37:13.280 --> 1:37:16.800 just started managing you know this man speak of him. 1:37:16.880 --> 1:37:19.080 She went, I need a manager? You want to manage me? 1:37:19.560 --> 1:37:22.839 And I went sure? And it was so organic and natural. 1:37:24.080 --> 1:37:26.920 It wasn't like I wasnt part of the what we 1:37:26.960 --> 1:37:29.120 call the beauty parade where she's meeting ten managers. She 1:37:29.160 --> 1:37:31.040 just wanted someone she knew that she was comfortable way. 1:37:31.960 --> 1:37:34.080 And that's when I felt, I'm out of my depth. 1:37:35.600 --> 1:37:38.759 It's like, how am I going to do this? Because 1:37:38.800 --> 1:37:45.479 she just exploded. Um, and that was learning as I went. 1:37:46.439 --> 1:37:49.280 But such a great school to go to. At that age. 1:37:49.360 --> 1:37:53.480 She was famous already, but really when she went independent 1:37:54.160 --> 1:37:57.559 her solo, she was truly seen as an artist making 1:37:57.640 --> 1:38:02.280 decisions that not everybody else would make correct, absolutely correct, 1:38:03.160 --> 1:38:05.519 you know, and a lot of she was someone who 1:38:05.640 --> 1:38:09.719 was very Again you learn from working with these artists, 1:38:09.760 --> 1:38:13.559 all of them are different. She is the purest artist 1:38:13.680 --> 1:38:16.000 I've ever worked with. And what I mean by that 1:38:16.439 --> 1:38:20.519 is she never wanted to sort of have her face 1:38:20.840 --> 1:38:24.160 in an ad, you know, for cosmetics or jewelry or something. 1:38:24.800 --> 1:38:27.920 I didn't want to accept money from brands. She turned 1:38:27.920 --> 1:38:31.200 down millions on millions of dollars. And she was not 1:38:31.360 --> 1:38:34.200 a rich artist, you know. She just went I can't 1:38:34.200 --> 1:38:37.320 do it. I can't do it. The closest we ever 1:38:37.400 --> 1:38:41.120 got to taking money with Steve Jobs. You know, this 1:38:41.240 --> 1:38:44.080 is the tour two thousand, two dozen one, just before 1:38:44.160 --> 1:38:48.120 nine living. We managed to secure meeting with Steve Jobs, 1:38:49.080 --> 1:38:51.320 much to the reluctance of his team. They gave us 1:38:51.360 --> 1:38:55.240 fifteen minutes be the four Seasons and fifty seven Street 1:38:55.240 --> 1:38:58.320 at seven thirty am. You got fifteen minutes or thirty minutes. 1:38:58.360 --> 1:39:01.479 We had a really short time we got there. Trying 1:39:01.479 --> 1:39:03.640 to get Buerk there at that time was something and 1:39:04.080 --> 1:39:05.679 she was doing a tour. And this is just when 1:39:05.800 --> 1:39:07.560 airport first came out, and you know, I'm going to 1:39:07.680 --> 1:39:10.479 use airport on stage. We're gonna send little computer files 1:39:10.520 --> 1:39:14.120 back and forth, and American use airport up front, you know, 1:39:14.160 --> 1:39:17.080 for merchandise people beon Mac terminals and or the merchandise 1:39:17.160 --> 1:39:20.759 for from remote computers, things that today sound really easy. 1:39:21.120 --> 1:39:23.679 When WiFi wasn't everywhere, you needed one of these stations 1:39:23.680 --> 1:39:28.360 to get WiFi. And that's not that long ago. And Steve, 1:39:28.760 --> 1:39:32.720 we've got a meeting and she just charmed depends off Dejols. 1:39:33.760 --> 1:39:35.600 He canceled his next two meetings with to hours with 1:39:35.640 --> 1:39:39.439 Steve jobs. You could see his people were livid, but 1:39:39.720 --> 1:39:44.320 she was just talking about her artistic and creative philosophy 1:39:46.120 --> 1:39:51.200 and why she used his products and what we wanted 1:39:51.240 --> 1:39:52.680 to try and do and it's going to use it. 1:39:53.360 --> 1:39:55.559 And we'd love to try and secure a million dollars 1:39:55.560 --> 1:39:59.320 because what we're doing with this tour, with orchestras and stuff, 1:39:59.600 --> 1:40:02.200 it would really expensive and we're trying to keep ticket 1:40:02.200 --> 1:40:05.920 prices low. Even let me come back to you twenty 1:40:05.920 --> 1:40:09.000 four hours later, Okay, we'll give you all the equipment 1:40:09.120 --> 1:40:11.400 you want, will give you the money. In two tiyears 1:40:12.400 --> 1:40:14.400 and they were in and then none, no liven half 1:40:16.080 --> 1:40:18.640 and then everything for us. No one knew what was 1:40:18.640 --> 1:40:21.559 happening in the world. It gave us a bunch of equipment, 1:40:21.600 --> 1:40:24.920 didn't give us any money. But then Steve was charmed 1:40:25.760 --> 1:40:27.720 and he called up and he's like, okay, I want 1:40:27.720 --> 1:40:31.960 to offer TV commercial really simple, there's no fee. I'll 1:40:31.960 --> 1:40:34.120 give her as much equipment as she wants forever for 1:40:34.280 --> 1:40:38.320 black and white, her creative manifesto, no product, no nothing, 1:40:38.640 --> 1:40:41.800 just her talking about her creative her creative mind and 1:40:41.840 --> 1:40:46.360 her creative manifesto. And at the end it goes to 1:40:46.439 --> 1:40:49.160 black and we've got the white apple symbol on a 1:40:49.200 --> 1:40:52.240 black screen. That's it. No voice over, no nothing, no 1:40:52.400 --> 1:40:56.639 heart cell and told the orchids and she's like, oh god, 1:40:56.680 --> 1:40:59.479 I'm not sure. She said, let me think about it, 1:40:59.800 --> 1:41:01.800 and was in a car with her somewhere I can't remember. 1:41:01.880 --> 1:41:03.960 I think we're going to Coachella, of all places. We're 1:41:04.040 --> 1:41:06.360 driving there. I'm just driving her in the car and 1:41:06.360 --> 1:41:10.240 Steve Jobs calls. She hasn't go back to me, what's happening? 1:41:10.240 --> 1:41:11.519 You know. He was kind of getting because he's used 1:41:11.560 --> 1:41:13.599 to get in his way, But why don't you speak 1:41:13.600 --> 1:41:15.960 to her yourself and put her on? And she's like, Steve, 1:41:16.200 --> 1:41:18.640 this is the best offer I've ever had from a 1:41:18.680 --> 1:41:20.680 big corporation. You know, I love you, you do love 1:41:20.720 --> 1:41:23.439 your products, but I'm punk rock. I can't say yes 1:41:23.439 --> 1:41:26.439 into the TV ap And she never did it. And 1:41:26.520 --> 1:41:29.559 what did he say? He's like he respected her even 1:41:29.600 --> 1:41:35.120 more because just you know, like Bork became, she wanted 1:41:35.160 --> 1:41:36.960 to go more into art world, and I was hanging 1:41:36.960 --> 1:41:38.639 out with her at the weekend, which was really great 1:41:38.680 --> 1:41:41.160 for her shows in l a Um. You know, we're 1:41:41.160 --> 1:41:43.439 still friends and you know, like we grew up together, 1:41:43.640 --> 1:41:46.200 you know, so my heart is still there, you know. 1:41:46.240 --> 1:41:49.600 With her as a person, I really admire her. But 1:41:49.680 --> 1:41:52.040 when she got into apps at the beginning of app development, 1:41:52.080 --> 1:41:53.799 she was one of the first artists who made apps 1:41:53.880 --> 1:41:56.800 for songs, and Steve helped him make the apps. He 1:41:56.880 --> 1:41:59.920 introduced it to the right people, he funded a bunch 1:41:59.920 --> 1:42:04.200 of it. He really helped her. And then I met 1:42:04.240 --> 1:42:07.280 Steve just before he passed away. He came to one 1:42:07.280 --> 1:42:10.360 of Polls shows in San Francisco and he was really 1:42:10.400 --> 1:42:13.760 unwell at this time. He sat side the stage and 1:42:13.800 --> 1:42:15.880 we chat and said, you probably don't remember me, Steve, 1:42:15.920 --> 1:42:18.200 because about eight nine years have passed, but you know 1:42:18.280 --> 1:42:21.040 I worked with you. And He's like, I love that girl. 1:42:21.160 --> 1:42:23.559 She's the only person who ever said no, the only 1:42:23.640 --> 1:42:26.599 person who ever said no. And you know she's good. 1:42:26.640 --> 1:42:28.120 You know I helped her out with the as. Yeah, 1:42:28.160 --> 1:42:29.719 I know you helped her out with the apps and stuff. 1:42:29.760 --> 1:42:34.320 She's gone. She is just a creative inspiration. The world 1:42:34.360 --> 1:42:36.960 needs more people like that. You know. He was so 1:42:37.560 --> 1:42:42.040 generous with his words of praise. Um for someone who 1:42:42.160 --> 1:42:45.160 was never a global icon or you know, on on 1:42:45.320 --> 1:42:48.160 stadium level artist, she was. She did her own thing, 1:42:48.200 --> 1:42:50.400 and she was difficult as an artist, but as a 1:42:50.439 --> 1:43:00.240 genuine artist. Okay, so you're me and pure, how do 1:43:00.280 --> 1:43:02.800 you work your way to our kid? Fire had a 1:43:02.800 --> 1:43:06.280 few of the smaller artists. That one was called Alabama 1:43:06.320 --> 1:43:09.760 three who only they loved that. They licensed the song 1:43:09.920 --> 1:43:14.000 to sopranos and that was the one thing that they did. 1:43:14.520 --> 1:43:18.600 Um probably the most successful sink in history because of 1:43:18.640 --> 1:43:22.040 the way that was still television deals weren't like they 1:43:22.040 --> 1:43:24.360 were now, so they were banned to the gift that 1:43:24.479 --> 1:43:27.719 kept giving that point. Your licensed for a prop pilot, 1:43:27.720 --> 1:43:30.439 you licensed for season one, Oh, your license for home 1:43:30.520 --> 1:43:33.160 video DVDs? Come out with a license for DVD now 1:43:33.560 --> 1:43:35.880 and it kept wait wait wait. The rumor on that 1:43:36.600 --> 1:43:41.240 is that they got a very low fee. What's the reality. No, 1:43:42.160 --> 1:43:44.960 the fee was never huge. There was just a lot 1:43:45.000 --> 1:43:48.799 of fees. So you've got a fee for the pilot. 1:43:49.439 --> 1:43:52.360 Then you got a fee for season one, and home 1:43:52.520 --> 1:43:55.680 video via Chess came out, you got a fee for that, 1:43:56.160 --> 1:43:58.479 and DVD came out. You got a FIFA that the 1:43:58.640 --> 1:44:00.200 season two came out, you got a FIFA that, you 1:44:00.240 --> 1:44:02.920 got a fee phone video d for DVD, and you 1:44:02.960 --> 1:44:06.280 went through every season get a fee and the fee 1:44:06.320 --> 1:44:11.320 would go up, so it became quite healthy until the 1:44:11.439 --> 1:44:17.360 last season of sopranocos Um, David Chase, the creator, did 1:44:17.360 --> 1:44:19.960 this huge Vanity Fair spread, you know, the great any 1:44:20.080 --> 1:44:24.519 Labats pull out cover with the whole castle Sopranos, really stunning, 1:44:24.960 --> 1:44:29.519 stunning photo. Remember reading the interview about how at that point, 1:44:29.560 --> 1:44:32.400 which seems smaller now but this is haven't been a 1:44:32.400 --> 1:44:36.799 long time ago, how they had made almost a billion 1:44:36.880 --> 1:44:41.880 dollars from the franchise. Because we've got to remember that time. 1:44:42.320 --> 1:44:45.160 Every holiday birthday someone to give you a books at 1:44:45.240 --> 1:44:47.920 or season two of the Sopranos season season one to five, 1:44:48.479 --> 1:44:50.479 you kept buying it. Again, it was a gift given 1:44:50.520 --> 1:44:54.120 thing because everybody watched DVDs or VHS box sets, and 1:44:54.160 --> 1:44:58.920 they made so much money from those physical sales, unbelievable 1:44:58.920 --> 1:45:03.439 amounts of money. It was such a financial earner for 1:45:03.640 --> 1:45:07.000 HBO at that time. So I'm sitting there reading like, wow, 1:45:07.120 --> 1:45:10.599 this sort of almost a billion dollars, And I went 1:45:10.640 --> 1:45:13.160 to Derek Burkeer, who's my best friend in the world, 1:45:13.160 --> 1:45:17.759 who was within the weekend, who runs one little Indian 1:45:17.760 --> 1:45:22.160 Records in London, who Buaquous signed to Alabama three signed too, 1:45:23.400 --> 1:45:26.000 and we're still talking about this. It's unbelievable. We're talking 1:45:26.000 --> 1:45:29.760 about it still, you know. And we said, let's say 1:45:29.840 --> 1:45:33.200 no when they when the license agreement comes in further 1:45:33.200 --> 1:45:36.280 the final season, Sopranos, Let's just say no and see 1:45:36.360 --> 1:45:40.200 what they say, you know, because they're not going to 1:45:40.360 --> 1:45:43.080 change the song at this stage. Everyone knows you hear 1:45:43.160 --> 1:45:46.560 the beginning of that song, you know, sopranos. So we 1:45:46.640 --> 1:45:48.680 said no, and they were like, what do you mean, no, 1:45:48.960 --> 1:45:51.200 We need the song of the final season. We just 1:45:51.200 --> 1:45:55.320 went no, and of course they probably got the highest 1:45:55.680 --> 1:45:59.160 sink higher than any Beatles song for that final season. 1:46:00.880 --> 1:46:04.000 And then it keeps going. It keeps going because the 1:46:04.920 --> 1:46:06.880 was it The Many Saints in New York. I don't 1:46:06.960 --> 1:46:09.839 forgot the exact title right. The movie that came up recently, 1:46:10.520 --> 1:46:15.240 the prequel with James Gandolfini's Son is a Star. Songs 1:46:15.280 --> 1:46:18.200 not in it, but what is it's in it? Right 1:46:18.240 --> 1:46:20.080 at the end, you just hear a little bit of 1:46:20.080 --> 1:46:22.479 the drum machine and the hairs in the back of 1:46:22.479 --> 1:46:25.479 your next end up because this movie ends. And then 1:46:25.520 --> 1:46:28.240 at that point you know Sourprianos is supposed to start, 1:46:29.120 --> 1:46:32.400 but you hear the song and it's iconic with that, 1:46:32.600 --> 1:46:35.720 with that story, and it's the song that keeps going 1:46:35.760 --> 1:46:38.320 because they're gonna do another movie. They're going to use 1:46:38.320 --> 1:46:40.320 the song, and it's just going to keep going in 1:46:40.439 --> 1:46:44.360 might turning into another series. Um. So of that band, 1:46:44.760 --> 1:46:49.960 who never sold the record, had a whole career off 1:46:49.960 --> 1:46:52.519 the back of that song, kept them going to still going, 1:46:52.560 --> 1:46:55.120 still do little clubs. Well, you know, I was a 1:46:55.240 --> 1:46:58.519 huge fan of that band, and I played an exile 1:46:58.720 --> 1:47:02.720 old Harbor Lane lot and Howard Thompson, the A and 1:47:02.840 --> 1:47:06.080 R guy. Yeah, Howard said, you gotta watch this new show, 1:47:06.120 --> 1:47:08.439 The Sopranos, And I remember it was a rainy day 1:47:08.479 --> 1:47:11.160 at a really odd time. It was like, you know, 1:47:11.720 --> 1:47:14.920 Sunday night or something, and I club it's out. I'll 1:47:14.920 --> 1:47:17.479 be able three. Thank you can't believe it. I know. 1:47:17.560 --> 1:47:19.439 That's just as a fan. I said. You know, they 1:47:19.439 --> 1:47:22.640 don't have the whole introduction about the chest of me know, 1:47:22.760 --> 1:47:25.360 oh man, it's unbelievable. So they were there was sort 1:47:25.360 --> 1:47:28.519 of licensed to Geffen from the One Little Indian. You know. 1:47:28.640 --> 1:47:31.880 Mark Kates, who's again who worked on that with me, 1:47:32.040 --> 1:47:34.320 is still one of my dearest dearest friends in the world. 1:47:34.960 --> 1:47:39.280 Um and I remember the colleges gone, this is you 1:47:39.520 --> 1:47:43.000 kind of mafia pilot, you know, and we're like, who 1:47:43.160 --> 1:47:45.280 just licensed? We got to get something going, and that 1:47:45.400 --> 1:47:50.000 was how it stopped um. But then geff and dropped 1:47:50.040 --> 1:47:53.800 them because they spend all this money, nothing happened, and 1:47:53.840 --> 1:47:56.719 then We'll bought one when he was running. Columbia signed 1:47:56.760 --> 1:47:58.680 him straight away. Not a big deal. That w the 1:47:58.800 --> 1:48:00.439 songs I hit. We gotta make this song a hit, 1:48:00.760 --> 1:48:03.000 couldn't make it a hit, you know, so they went 1:48:03.080 --> 1:48:05.280 deal to deal, made a lot of money with the 1:48:05.320 --> 1:48:08.679 advances at the time. It's just one of those really 1:48:08.760 --> 1:48:11.719 really strange stories of a band who had one song 1:48:11.840 --> 1:48:15.840 that was never genuinely a hit, but everybody knows the song, 1:48:16.400 --> 1:48:18.240 which is kind of weird. I've never had that before. 1:48:18.720 --> 1:48:21.439 So then from there to Arcade Far Arcade Fire, where 1:48:21.880 --> 1:48:24.519 you know, just as they were bubbling under, they're still 1:48:24.520 --> 1:48:27.600 playing Mercury Lounge and they're playing really small clubs, the 1:48:27.640 --> 1:48:29.800 Echo and you know, and so on. In l A. 1:48:30.880 --> 1:48:33.559 Everyone knew there's this really cool band and you've seen 1:48:33.600 --> 1:48:37.280 them live, incredible live show. I didn't want a manager, 1:48:37.479 --> 1:48:41.120 but I remember telling Bill Salona, their business manager at 1:48:41.120 --> 1:48:43.840 the time, and dealing bo there the lawyer. It's like, hey, 1:48:43.880 --> 1:48:45.639 if they just didn't need any help, you know, happy 1:48:45.640 --> 1:48:47.920 to help them out, you know, even though don't manage them, 1:48:47.960 --> 1:48:50.880 just sort their business out because they're doing all themselves. 1:48:51.280 --> 1:48:53.800 And then about a month after that, Cold Giving Cold said, yeah, 1:48:53.800 --> 1:48:56.240 they they do meetings now and then, just to make 1:48:56.240 --> 1:48:59.799 sure I'm the last meeting, because they met with you know, Mention, 1:49:00.080 --> 1:49:02.639 met with Silver, and they met with everybody. They did 1:49:02.640 --> 1:49:06.519 the whole runs everybody, and I met them in London 1:49:07.960 --> 1:49:10.040 five minutes. It was chaos, and they went, can you 1:49:10.080 --> 1:49:13.040 come to Paris too? Were shown Paris? Like sure, and 1:49:13.040 --> 1:49:15.320 I went to Paris. Then I ended up set of 1:49:15.360 --> 1:49:18.120 same thing. After Paris, it was chaos. Everyone wants to 1:49:18.160 --> 1:49:21.000 meet him, and I'm like, didn't get any time, Like god, 1:49:21.000 --> 1:49:23.040 this is never gonna work. And they went, we're going 1:49:23.080 --> 1:49:24.760 on a bus to Amsterdam. Do you want to come 1:49:24.800 --> 1:49:27.000 to it? Sure? I just got in the bus and 1:49:27.040 --> 1:49:29.200 I went with them and talked all night in the bus. 1:49:29.240 --> 1:49:30.760 Stay for the Amsterdam show. Then I think I went 1:49:30.800 --> 1:49:32.640 to the Berlin show. After that, I just kind of 1:49:32.640 --> 1:49:36.640 went the same same clothes for about three or four days. Um, 1:49:36.680 --> 1:49:40.120 And that's how that one came in and they like 1:49:40.240 --> 1:49:44.120 the idea of working with me over all these other 1:49:44.240 --> 1:49:48.080 managers who are way way more successful because I work 1:49:48.120 --> 1:49:51.160 with Pure. And they liked the way her business was running, 1:49:51.120 --> 1:49:53.479 the way her career was handled, how she was completely 1:49:53.520 --> 1:49:55.720 in control of her career, the way they wanted to be. 1:49:56.400 --> 1:49:58.320 You know the fact that she worked with Independence and 1:49:58.400 --> 1:50:01.320 Majors and it was all mixed um and that's what 1:50:01.360 --> 1:50:04.200 appealed to them. So how did it end with buerk 1:50:04.400 --> 1:50:08.519 in Arcade, fireing You and ended with Buyork two ten 1:50:08.600 --> 1:50:13.840 and Living? I think because she was making her album Biophilia, 1:50:14.400 --> 1:50:16.800 and it was the first project of hers that I 1:50:16.800 --> 1:50:21.360 had worked on that I didn't understand. And what I 1:50:21.400 --> 1:50:24.200 mean by that is and instead of for one of 1:50:24.240 --> 1:50:27.160 a better terms, the salesman, you give the product, I 1:50:27.200 --> 1:50:32.680 could sell it to everybody, all your partners, labels, anyone else, promoters? 1:50:32.760 --> 1:50:35.599 How are we going to do this? And I didn't 1:50:35.600 --> 1:50:38.200 get it. I was trying to picture myself in her room. 1:50:38.240 --> 1:50:40.120 And if I didn't understand that, how is everyone else 1:50:40.120 --> 1:50:42.920 gonna understand it? Because that was an album where she 1:50:43.080 --> 1:50:48.160 custom build instruments. It was very scientific if you look 1:50:48.160 --> 1:50:53.040 at it on paper is sheer genius, absolutely brilliant. The 1:50:53.120 --> 1:50:57.040 show was incredible, but I didn't understand it, and that 1:50:57.320 --> 1:50:59.240 you know, we're still friends to this day. I just said, 1:50:59.280 --> 1:51:03.840 I'm not the person and with who can realize your 1:51:03.880 --> 1:51:06.640 project the way you want to realize. You've kind of 1:51:06.720 --> 1:51:12.080 crossed the boundary between just doing sound based music into art. 1:51:13.600 --> 1:51:18.120 And at that time her partner was Matthew Barney, who 1:51:18.200 --> 1:51:23.920 was a brilliant artist, unbelievably amazing, had a career retrospective 1:51:24.600 --> 1:51:27.760 at that time at the Guggenheim. All was the Guggenheim 1:51:27.840 --> 1:51:30.080 brilliant artist for someone that I think he was the 1:51:30.120 --> 1:51:32.920 youngest artist at that time who had the Guggenheim retrospective, 1:51:34.320 --> 1:51:39.880 So there was clearly a big artistic ah I felt 1:51:39.920 --> 1:51:43.720 like an underlying competition in their personal lives. Who is 1:51:43.760 --> 1:51:46.920 the most extreme you can who can be the most 1:51:47.000 --> 1:51:51.800 artistic and most brilliant and most ambitious. And at that point, 1:51:51.880 --> 1:51:54.400 I'm like, this is you know, I'm the wrong person 1:51:54.439 --> 1:51:58.000 to work this. It wasn't about finances and money or anything. 1:51:58.000 --> 1:51:59.840 It's just like, I don't know how to do this. 1:52:01.120 --> 1:52:04.360 And she never replaced me. She just built a team 1:52:05.120 --> 1:52:08.120 people who could help facilitate and work and it's worked 1:52:08.120 --> 1:52:10.720 really well. She never wanted to be famous, but she 1:52:10.760 --> 1:52:13.000 said I tried the pop start, think it was great fun. 1:52:13.280 --> 1:52:15.479 Not gonna be a pop star anymore, you know. And 1:52:15.520 --> 1:52:20.320 she's classically trained, so her music is very, very complicated 1:52:20.320 --> 1:52:23.680 and very ambitious and that's not my skill set. I 1:52:23.720 --> 1:52:26.519 wish it was, but it's not an arcade fire. With 1:52:26.640 --> 1:52:30.599 arcade Fire on the last album campaign, you have Winn Butler, 1:52:30.640 --> 1:52:37.800 who is unbelievably brilliant as a songwriter, so ambitious. In 1:52:37.920 --> 1:52:40.640 my twelve years with them and five albums, never had 1:52:40.640 --> 1:52:48.000 a hit single, sold really well, live, unbelievable. You know. 1:52:48.080 --> 1:52:50.960 It got to a point in the UK, specifically the UK, 1:52:51.360 --> 1:52:54.000 who really welcomed them with open arms. Headlining Glass and 1:52:54.040 --> 1:52:58.120 Breed d eighty thousand people within a week, Hyde Park, 1:52:58.240 --> 1:53:01.280 sixty five people had any with Mom for the Son's 1:53:01.320 --> 1:53:05.240 opening up UM and three nights at Earl's Court two 1:53:05.560 --> 1:53:10.160 people a night. It was huge. Everything soldau instantly. There's 1:53:10.200 --> 1:53:15.680 nothing they could do wrong, and when felt a failure 1:53:16.120 --> 1:53:19.160 because they didn't get to stadium level because he would 1:53:19.200 --> 1:53:21.040 look at Cold Clay and bands like that, how come 1:53:21.080 --> 1:53:24.000 they're doing stadiums and we're not doing stadiums. It's like, well, 1:53:24.240 --> 1:53:29.439 they're big hit singles, anthems, um, and they do a 1:53:29.439 --> 1:53:32.600 lot of things that you don't do. They're driven in 1:53:32.640 --> 1:53:34.599 a different way. They work it. They do a lot 1:53:34.600 --> 1:53:38.080 of promo, they're playing the game, they're writing pop songs. 1:53:39.439 --> 1:53:43.599 And it's like he didn't get it. He's like, well, 1:53:43.600 --> 1:53:46.080 why are we not playing Yankee Stadium and Dodger Stadium 1:53:46.120 --> 1:53:48.320 on this album campaign? You sort of know in the 1:53:48.400 --> 1:53:50.920 air when you can do that, And if they'd had 1:53:50.920 --> 1:53:53.599 a hit single, they could probably have done that. They 1:53:53.640 --> 1:53:56.559 just didn't get there, you know, even you know, like 1:53:56.640 --> 1:53:59.280 the last two wasn't successful. They did it in a round. 1:53:59.360 --> 1:54:02.080 It was really big expensive doing shows in them around 1:54:02.280 --> 1:54:05.880 is complicated in arenas. I didn't I didn't think they 1:54:05.880 --> 1:54:08.960 should have done it that way. They knew that. The 1:54:08.960 --> 1:54:12.400 tour before it was like two nights in Massacre Garden, 1:54:12.439 --> 1:54:14.719 three nights in Barclays to three nights in the Forum, 1:54:15.000 --> 1:54:18.639 two weekends headline and Coachella, like everything was going great, 1:54:19.600 --> 1:54:21.960 and we looked at doing stadiums at that point, and 1:54:22.000 --> 1:54:24.360 then that's when it became a numbers game because they 1:54:24.400 --> 1:54:26.320 wanted didn't want to charge over a hundred dollars the 1:54:26.360 --> 1:54:28.240 ticket and doll the ticket you're trying to do a 1:54:28.240 --> 1:54:30.800 stadium on that you walk up no money because the 1:54:30.880 --> 1:54:34.120 overhead to do the show is so high, cover the grass, 1:54:34.440 --> 1:54:36.640 you know, everything of the infrastructure you've gotta bring in, 1:54:37.400 --> 1:54:39.560 you know, and stadiums really only work when you have 1:54:39.640 --> 1:54:42.200 a lot of shows and stadiums and you can you know, 1:54:42.280 --> 1:54:46.480 aggregate your your production build and try and share stadium 1:54:46.560 --> 1:54:48.800 with someone else. Maybe there's two different artists can do 1:54:48.840 --> 1:54:51.360 the same stadium on the weekend, but uses the same 1:54:51.360 --> 1:54:55.640 structures and same grass covering. You split the cost um. 1:54:55.680 --> 1:54:59.120 So they felt that it's really when all the rest 1:54:59.120 --> 1:55:02.440 of the band thinking felt that I wasn't getting into 1:55:02.440 --> 1:55:04.560 where he wanted to go. We're still friends. We hang 1:55:04.560 --> 1:55:06.560 out with drinks. A couple of weeks ago. You know, 1:55:06.560 --> 1:55:08.480 I spent I spent a lot of time in New 1:55:08.520 --> 1:55:10.920 Orleans because of them. They moved here and I still 1:55:10.920 --> 1:55:14.280 have a place here, see them in the same bars, restaurants. 1:55:14.760 --> 1:55:16.880 We're talking to He's like, how do you put music 1:55:16.920 --> 1:55:20.320 out today? He's going, I've never proved so many formats ever, 1:55:20.800 --> 1:55:23.400 so they're about to at some point pop music out 1:55:23.720 --> 1:55:26.200 and we're talking about it and it's healthy, it's good. 1:55:26.480 --> 1:55:28.880 So I like the fact that I don't work with them. 1:55:29.120 --> 1:55:30.920 I wouldn't know what to do with them right now. 1:55:31.080 --> 1:55:33.839 That's the thing because if you look at that genre, 1:55:33.920 --> 1:55:38.240 the Strokes, Kings and Leon our Cape for Vampire Weekend, 1:55:38.760 --> 1:55:42.080 you know, Jack White and are what are White Stripes 1:55:42.120 --> 1:55:44.400 at the time when there were all those bands from 1:55:44.440 --> 1:55:49.160 that period, that early in the two thousand's, Where is 1:55:49.200 --> 1:55:52.000 their audience right now? Where is their radio audience? We're 1:55:52.000 --> 1:55:54.720 talking about radio early in the conversation, interns of radio 1:55:55.240 --> 1:55:58.720 is pretty much gone. It doesn't resonate, So what is 1:55:58.800 --> 1:56:01.960 there out there? They don't scream, None of them have 1:56:02.080 --> 1:56:05.040 streaming followers enough to get them over the over the 1:56:05.120 --> 1:56:08.400 hump of streaming. It's a physical audience. It's doing nice, 1:56:08.400 --> 1:56:12.360 cool packages for that audience. But then my big question 1:56:12.440 --> 1:56:15.000 that I try and answer for myself. If you are 1:56:15.080 --> 1:56:17.440 like a Stroke, Sa Kings, Leon, r K par or whoever, 1:56:17.560 --> 1:56:21.680 who've done at least five albums and your show is great, 1:56:21.720 --> 1:56:24.240 you have a loyal fan base, why do you really 1:56:24.280 --> 1:56:26.960 need a sixth album? Or will you go and see 1:56:27.000 --> 1:56:29.520 them for the fifth or sixth time when there's maybe 1:56:29.520 --> 1:56:31.040 other new things that you want to go if you're 1:56:31.080 --> 1:56:33.520 on a limited budget. So I'm trying to think and 1:56:33.640 --> 1:56:35.840 that how would I have done? How would I do this? 1:56:36.160 --> 1:56:39.320 How would I present this to the world is challenging. Well, 1:56:39.320 --> 1:56:43.360 the interesting thing is since they've left you, uh, they've 1:56:43.400 --> 1:56:46.720 had no further success greater than what they had previously. 1:56:46.760 --> 1:56:49.280 It's gone in the other direction, and that's what's going 1:56:49.320 --> 1:56:52.920 to happen. I delivered number one, number one, The biggest 1:56:53.000 --> 1:56:55.960 radio hit was on the last album. Their touring was 1:56:56.400 --> 1:57:00.240 globally successful. They're deal making structure second to none. They're 1:57:00.240 --> 1:57:03.760 in a great place. They also have great stock and Spotify. 1:57:03.880 --> 1:57:07.560 That's we'll see them financially right forever. And we negotiated 1:57:07.680 --> 1:57:11.120 ten years ago before was public, So they had so 1:57:11.160 --> 1:57:13.760 many great deals and in such an amazing position, and 1:57:13.760 --> 1:57:17.040 I'm really really happy about that. I don't think the 1:57:17.120 --> 1:57:19.120 next album is going to be number one. It's not 1:57:19.240 --> 1:57:21.760 going to be number one because of what you need 1:57:21.800 --> 1:57:26.160 to do together. Did they do they have a manager presently? Yes? Yes, 1:57:26.720 --> 1:57:31.840 is he Vikovich who used to work with Kanye. Great guy, 1:57:32.400 --> 1:57:35.600 really really good guy, which I'm happy about as well. 1:57:35.720 --> 1:57:37.960 How did you get Paul McCartney. He co called me. 1:57:38.240 --> 1:57:41.400 Why it's a really fun story, but this is the 1:57:41.440 --> 1:57:43.280 Stars in Line. I'm sitting in my off as them 1:57:43.280 --> 1:57:45.800 in London. I've worked with r K bar Bjork and 1:57:45.840 --> 1:57:50.920 a couple of smaller acts and my phone goes it's 1:57:50.920 --> 1:57:54.640 a private number. I just answered it when he's that Scott, Yeah, 1:57:54.640 --> 1:58:00.160 this is Paul McCarty and I stood up attentions he 1:58:00.200 --> 1:58:02.840 had walked in the room because you knew it was 1:58:02.920 --> 1:58:04.560 his voice, and I'm like, why am I standing up? 1:58:04.600 --> 1:58:06.760 And I'm in my room on my own. He sat 1:58:06.800 --> 1:58:09.760 back down again. I'd never spoken to Paul, didn't know 1:58:09.800 --> 1:58:13.080 anyone on his team, and he said, yeah, here your 1:58:13.120 --> 1:58:16.200 manager said yeah, I don't really like managers, went me, 1:58:16.320 --> 1:58:19.480 neither other than the couple, and he's gone, I'm working 1:58:19.480 --> 1:58:21.680 on an album and I need some help. You want 1:58:21.680 --> 1:58:23.160 to him in the office and we'll have a chat 1:58:23.240 --> 1:58:25.360 about see if we can do something together. You know, 1:58:25.400 --> 1:58:27.040 I'd love to get your thoughts and a few things. 1:58:28.080 --> 1:58:30.160 He said, yeah you might, great, I have my assistant 1:58:30.160 --> 1:58:32.480 call you will set up. That was a call really 1:58:32.560 --> 1:58:36.480 short and I'm like, WHOA, that was weird? Where did 1:58:36.480 --> 1:58:39.960 that come from? And then he assistant calls, choose day, 1:58:40.120 --> 1:58:43.120 tentacle yet perfect. We stop and meeting in his office. 1:58:44.200 --> 1:58:49.600 And but ten minutes after that, his lawyer calls because 1:58:49.640 --> 1:58:52.080 he went he went rogue. He didn't check with anyone, 1:58:52.960 --> 1:58:54.960 so Afric called me opens he called his lawyer, and 1:58:55.040 --> 1:58:57.160 lawyer called me said, okay, that's the way the deal works. 1:58:57.280 --> 1:58:59.640 NBA is coming over. Give me your email address. You 1:58:59.640 --> 1:59:03.880 know all that stuff started. I'm like, okay, clearly he 1:59:04.040 --> 1:59:06.400 just went rogan and tell a single person he was 1:59:06.440 --> 1:59:10.320 doing the call. The next day, I got a call 1:59:10.360 --> 1:59:12.480 from a really good friend of mine, Jefferson Hack now 1:59:12.600 --> 1:59:16.520 Jefferson as a journalist. Him and his partner of the 1:59:16.560 --> 1:59:20.600 photographer rank and the business partner that is, they started 1:59:20.600 --> 1:59:23.120 a magazine, Dazed and Confused in the UK that was 1:59:23.200 --> 1:59:27.560 kind of a lifestyle fashion music magazine. Since went on 1:59:27.680 --> 1:59:31.880 rankings like Superstar. Photographer Jefferson started a few of the 1:59:31.960 --> 1:59:35.280 magazines they still continues. He's Etra. I think he's the 1:59:35.320 --> 1:59:42.120 publisher another magazine, another man magazine. You know Sally he's 1:59:42.160 --> 1:59:45.000 a big and fashion and works with all the fashion 1:59:45.040 --> 1:59:47.200 houses and things. You know, just someone who was really 1:59:47.840 --> 1:59:50.839 in touch with the here and now music fashion culture, 1:59:51.920 --> 1:59:54.920 and obviously he was friends with Stella McCartney. I wasn't 1:59:54.960 --> 1:59:57.120 friends with I am now, but I wasn't then. So 1:59:57.240 --> 2:00:01.200 Jefferson Cortey, Hey, Stella McCartney called me instead. I need 2:00:01.240 --> 2:00:04.760 someone new and interesting to work with my dad. Do 2:00:04.800 --> 2:00:06.640 you know anyone? He went, I don't know anyone in 2:00:06.720 --> 2:00:09.720 music except for me, you know, because he was big 2:00:09.720 --> 2:00:11.520 friends with The York and we knew each other and 2:00:12.000 --> 2:00:14.040 I knew each other since the magazine started. And so 2:00:14.040 --> 2:00:16.080 I hope you don't mind that. Gave her your number. 2:00:16.320 --> 2:00:18.440 So Paul my call and I went, funny, you say 2:00:18.440 --> 2:00:20.440 that he's already called, and he went, damn, sorry, I 2:00:20.440 --> 2:00:23.520 should have told you earlier. Um. So this is the thing, 2:00:23.640 --> 2:00:26.400 just Stella trying to like, which she still does to 2:00:26.440 --> 2:00:29.040 this day, how to breathe in life into him? How 2:00:29.040 --> 2:00:31.200 do you know? She's like a mini me of Paul 2:00:31.520 --> 2:00:34.280 in a female form. You know, she's so dripped and 2:00:34.320 --> 2:00:36.240 she's like, how do I just get my dad to 2:00:36.240 --> 2:00:39.960 do things are exciting and interesting, you know. And that's 2:00:39.960 --> 2:00:42.720 where the number came from. So it was this little chain. 2:00:43.680 --> 2:00:45.960 They didn't do the beauty parade, he didn't go and 2:00:46.000 --> 2:00:48.320 meet ten other people. I went and had a meeting. 2:00:49.000 --> 2:00:50.560 They went, well, let's get a few months and see 2:00:50.560 --> 2:00:53.080 how it goes. In the first few meetings were really 2:00:53.360 --> 2:00:57.160 hilariously funny looking back on them. You know, I'll never 2:00:57.200 --> 2:00:58.960 be the first time you like, he said, Okay, and 2:00:59.040 --> 2:01:01.560 pull the team together, up the system, somethin the label 2:01:01.760 --> 2:01:03.440 going to meet over at my house. We're going over 2:01:03.480 --> 2:01:07.720 to his house in London. We're sitting down and wait, okay, 2:01:07.760 --> 2:01:09.800 the albums are in eight weeks. What are we going 2:01:09.840 --> 2:01:11.640 to be doing? And I went, well, first thing, Paul, 2:01:11.920 --> 2:01:13.720 can we put it back four weeks so we've got 2:01:13.760 --> 2:01:17.120 a bit more time? He went, Listen, when I was 2:01:17.160 --> 2:01:21.480 in the Beatles, we finished the Friday record would be out, 2:01:21.520 --> 2:01:23.320 but in three or four days, probably on the Monday 2:01:23.320 --> 2:01:27.680 of the Tuesday. Now records coming out. It's fine, It's like, okay, 2:01:28.000 --> 2:01:31.480 that was like one of the first meetings. Um, but 2:01:31.600 --> 2:01:33.959 that I thought it'd be in there doing some consulting 2:01:34.040 --> 2:01:36.520 for him and helping out just on that album project 2:01:36.600 --> 2:01:38.200 and a few of the things he had going on. 2:01:38.400 --> 2:01:40.560 He did Complation DVD at the time of my can't 2:01:40.560 --> 2:01:43.600 he years and we're pulling all this together now, just stop? 2:01:43.640 --> 2:01:45.520 That would sort of be it. He got away for 2:01:45.520 --> 2:01:48.520 a few years, but then we really got into it 2:01:48.520 --> 2:01:51.280 and we started getting creative because he one thing he said, 2:01:51.280 --> 2:01:54.200 and the first meeting was he said, I hate getting bored. 2:01:55.440 --> 2:01:57.840 I hate it. I still always want to be fair, 2:01:57.920 --> 2:02:02.800 ideas and stimulating. All these things resonated to the point 2:02:02.880 --> 2:02:04.920 where I started looking back, Oh, he hasn't want a 2:02:04.960 --> 2:02:06.800 Grammy in twenty years, and why is that? You know? 2:02:06.840 --> 2:02:08.800 And well I started doing all these things and then 2:02:08.840 --> 2:02:11.640 we since one about fifteen grammy since I've worked with him, 2:02:11.680 --> 2:02:14.640 you know. So it's like we just changed the course 2:02:15.880 --> 2:02:19.000 and the energy behind what he was doing, you know, 2:02:19.160 --> 2:02:22.560 and again making sure that the PR was on point. 2:02:22.840 --> 2:02:24.880 And I learned that with him, how we do things 2:02:24.880 --> 2:02:27.520 that are great and interesting. I think the first piece 2:02:27.520 --> 2:02:29.280 of PR I made him do when I work with 2:02:29.360 --> 2:02:33.960 him was a Pitchfork interview when Pitchfork was very different, 2:02:34.040 --> 2:02:36.280 still run by Ryan back then, you know, and this 2:02:36.440 --> 2:02:40.560 is two thousands seven six, and you know, and I thought, 2:02:40.680 --> 2:02:42.560 this is why we should do it. You would never 2:02:42.600 --> 2:02:44.120 talk to them and they would never think of talking 2:02:44.160 --> 2:02:46.920 to you. And remember, Colin Ryanson, what do you think 2:02:46.920 --> 2:02:48.920 about this? He went, we really get to talk to him. Me, 2:02:49.040 --> 2:02:51.080 you really get to talk to him? Oh, hell yeah, 2:02:51.080 --> 2:02:54.400 we're in and that just and that just traveled and 2:02:54.440 --> 2:02:56.640 he loved that interview and he still refers to that 2:02:56.680 --> 2:02:59.240 interview today. So it's just thinking, how do we do 2:02:59.360 --> 2:03:01.960 things he hasn't before? That was like me, but I'm 2:03:01.960 --> 2:03:04.320 probably gonna get fired after this one. He's never done 2:03:04.320 --> 2:03:06.400 an in store, you know, so let's do the in store. 2:03:06.960 --> 2:03:09.160 And then we got Grammy nominated from the twelve inch final, 2:03:09.200 --> 2:03:11.000 were released from it and things like that. You know, 2:03:11.120 --> 2:03:13.040 it's a didn't win the Grammy, but at least we've 2:03:13.040 --> 2:03:15.320 got nominated. So we did a bunch of fun things. 2:03:15.920 --> 2:03:17.680 You know, he's one of the biggest also on the planet. 2:03:17.680 --> 2:03:20.080 How do we go to do things that's on the ground, 2:03:20.560 --> 2:03:23.320 pool it right back down and then rebuild it back up. 2:03:24.200 --> 2:03:26.920 That was really really good fun. And he was always 2:03:26.920 --> 2:03:30.280 open to ideas, always open, never shot him down, didn't 2:03:30.280 --> 2:03:32.240 say yes all the time, but it was all be 2:03:32.360 --> 2:03:34.520 great idea, not for me or not for right now, 2:03:34.600 --> 2:03:37.680 but great idea. And it was really healthy dialogue. So 2:03:38.040 --> 2:03:42.880 again I'm done year sixty, so happy, heavenly fired yet, Wow, 2:03:43.320 --> 2:03:45.840 this has been fantastic. Scott I wanted to thank you 2:03:45.880 --> 2:03:48.720 for all the time you've taken for those who were 2:03:48.760 --> 2:03:50.800 in the trenches of the business and for those on 2:03:50.840 --> 2:03:53.400 the outside. This is really quite a primer of what's 2:03:53.400 --> 2:03:57.240 going on. Certainly demonstrates how you have your feet both 2:03:57.240 --> 2:04:01.080 on the ground and in the cyber world. So thanks 2:04:01.080 --> 2:04:03.360 so much for taking the time, Scott, Thank you, Bob, 2:04:03.400 --> 2:04:06.240 thanks for inviting me. You good to chat, been long overdue, 2:04:06.440 --> 2:04:09.400 and hopefully see each other in person at some point. Okay, 2:04:09.400 --> 2:04:14.040 just one question. You had this insane accident where you 2:04:14.160 --> 2:04:18.440 were hit. How are you doing. How's your body doing? Yeah, 2:04:18.560 --> 2:04:21.880 I get hit faced on by car. I'm doing it 2:04:21.920 --> 2:04:24.840 other than my knees at one surgery. Didn't do the 2:04:24.880 --> 2:04:27.280 second surgery because I didn't like the feeling of the 2:04:27.280 --> 2:04:31.240 first surgery. Doesn't feel that great. So but I'm good. 2:04:31.800 --> 2:04:35.839 Train every day except on place. And just one more question, 2:04:36.240 --> 2:04:39.960 to what degree has your attention to business affected your 2:04:40.080 --> 2:04:44.960 personal life, relationships, etcetera. I think and do what we do, 2:04:45.400 --> 2:04:48.840 it's always going to affect him because and I'm trying 2:04:48.880 --> 2:04:53.520 to get that balance right between you know, pre COVID. 2:04:53.640 --> 2:04:58.120 I think I did a hundred thirty five flights back 2:04:58.120 --> 2:05:01.280 cut down to about forty last year, who's back up 2:05:01.400 --> 2:05:04.440 about eighty, you know, And I'm trying not to get 2:05:04.480 --> 2:05:08.080 it to a point where I'm on a plane every 2:05:08.120 --> 2:05:11.360 other day. You know, I love what I do. I 2:05:11.440 --> 2:05:14.320 love the people that I work with. I love my team. 2:05:14.440 --> 2:05:17.560 The artists are phenomenal. I couldn't ask to work with 2:05:17.680 --> 2:05:21.360 better artists. So I'm really really lucky with regards of that. 2:05:22.040 --> 2:05:23.800 I'm not trying to let all the people in my 2:05:23.840 --> 2:05:25.720 team who have been with me so long, who are 2:05:25.760 --> 2:05:28.839 so great, they can do a lot more of the traveling. 2:05:29.040 --> 2:05:31.240 They can do a lot more FaceTime. I know exact 2:05:31.240 --> 2:05:33.600 place when I have to be somewhere and then I'm there. 2:05:33.920 --> 2:05:36.480 But I'm trying to find that balance where I actually 2:05:36.560 --> 2:05:38.120 don't have to be in a plane. I say this, 2:05:38.320 --> 2:05:41.400 but you know, you know, we could multiple shows, some 2:05:41.480 --> 2:05:43.200 in the same city in the next couple of weeks, 2:05:43.200 --> 2:05:45.520 and I'm in Atlanta and in Vegas and in l 2:05:45.560 --> 2:05:48.000 a butin three days. So you know, what I'm saying 2:05:48.080 --> 2:05:49.880 isn't really living up to what I'm trying to do. 2:05:49.920 --> 2:05:53.080 But I'm trying to slow down the pace and balance 2:05:53.160 --> 2:05:56.680 that sort of quality of life with quality of work 2:05:56.880 --> 2:06:00.440 and then since you mentioned shows in COVID, I mean Elton. 2:06:00.880 --> 2:06:07.080 Elton restarted his uh final tour, he immediately got COVID. Okay, 2:06:07.200 --> 2:06:09.840 the laws, certainly in America are different depending on what 2:06:09.960 --> 2:06:14.240 state you're in. There's been some super spreader events. You know, 2:06:14.320 --> 2:06:16.280 how do you decide to go on the road, what 2:06:16.400 --> 2:06:19.160 precautions do you take? What do you think what's gonna 2:06:19.320 --> 2:06:22.240 happen here in the next six months? Every every artist 2:06:22.320 --> 2:06:25.640 has different levels of there, that's how you put it. 2:06:25.800 --> 2:06:28.120 How strict they're going to be with the policy if 2:06:28.120 --> 2:06:30.160 you you know, there's something went round online with the 2:06:30.200 --> 2:06:34.760 deadening companies COVID policy, which was the strictest that I 2:06:34.800 --> 2:06:38.600 think we've seen. Finding balance what we've done on all 2:06:38.680 --> 2:06:40.960 shows from from October and I've been having a lot 2:06:41.000 --> 2:06:44.240 of big shows arena show since October last year, still running. 2:06:45.760 --> 2:06:49.320 We have a COVID protocol so on every tour, everybody 2:06:49.320 --> 2:06:52.480 going backstage has to be tested before we get in 2:06:52.520 --> 2:06:55.880 the room. That includes building staff. All building staff have 2:06:55.960 --> 2:06:58.320 to be vaccinated. Everybody in the touring on trash has 2:06:58.360 --> 2:07:02.160 to be vaccinated because of good a singer or you've 2:07:02.160 --> 2:07:04.360 got four guys in a band or whatever, happens to be. 2:07:05.240 --> 2:07:08.080 They go down, there's no show, so you have to 2:07:08.160 --> 2:07:11.400 keep them protected as best you can. Everyone has to 2:07:11.440 --> 2:07:15.760 wear masks backstage, but ensuring that you keep this backstage bubble. 2:07:15.840 --> 2:07:19.520 The only time the bubble breaks, it's down to the artice. Oh, 2:07:19.680 --> 2:07:23.080 my sisters coming in, my brother's coming in on my whatever, 2:07:23.240 --> 2:07:26.560 my auntie, my cousin, my Nick donaghbor's best friend, and 2:07:26.640 --> 2:07:30.040 people start coming backstage. They we want them all tested, 2:07:30.120 --> 2:07:32.760 We want them all vaccinated tested, you know, or to 2:07:32.880 --> 2:07:35.080 make sure that you're still trying to keep some kind 2:07:35.120 --> 2:07:37.600 of safety level, because that's the only way that the 2:07:37.680 --> 2:07:40.920 artist is kind to go down. Um. We had a 2:07:40.960 --> 2:07:43.720 big issue is the chelly through two nights of the 2:07:43.760 --> 2:07:45.880 Garden in December. You know, like then we had a 2:07:45.920 --> 2:07:47.760 few shows in Florida, like Miami and a couple of 2:07:47.760 --> 2:07:50.640 other shows. Time we got to the Garden, two guys 2:07:50.640 --> 2:07:52.880 in the video team, they were on a bus. Two 2:07:52.960 --> 2:07:55.840 of them went down. Managed to replace one of them, 2:07:55.840 --> 2:07:57.880 but not too often. Then the audio team started to 2:07:57.880 --> 2:07:59.200 go down to the other shows. We were on a 2:07:59.200 --> 2:08:02.480 skeleton staff from the very last show about the December. 2:08:03.280 --> 2:08:05.440 You know, it's because we couldn't hire people people didn't 2:08:05.440 --> 2:08:07.640 want to come up, catch COVID and be out for 2:08:07.720 --> 2:08:11.160 ten days for Christmas. So people we couldn't reheart staff. 2:08:11.200 --> 2:08:13.120 They went bell ill. They didn't want to be in 2:08:13.160 --> 2:08:15.640 a bus sleeping on a bus. Of other guys might 2:08:15.680 --> 2:08:17.600 have it because they've been exposed to the guy who 2:08:17.600 --> 2:08:20.640 did get it. That became really complicated, and that's how 2:08:20.680 --> 2:08:23.560 shows are going down. So I can see say, I 2:08:23.560 --> 2:08:25.720 don't know what happened with the Dell show in Vegas, 2:08:25.720 --> 2:08:27.400 no idea. I know as much as you know, and 2:08:27.440 --> 2:08:29.560 the next guy knows just from what you read. Well, 2:08:29.680 --> 2:08:32.360 I know that a lot of it's not public. Oh yeah, yeah, 2:08:32.360 --> 2:08:35.920 I'm sure. But what I feel is like genuinely you know, 2:08:36.000 --> 2:08:38.800 like if you aren't strict about it, as soon as 2:08:38.880 --> 2:08:41.120 someone in your audio team goes down and someone else 2:08:41.120 --> 2:08:43.320 goes down, there might be someone by No, that was 2:08:43.360 --> 2:08:46.040 all horseship. There was only one. There was only one person. 2:08:46.040 --> 2:08:47.920 It was an excuse. I mean, I'm not talking about 2:08:47.920 --> 2:08:50.760 your concept. But in the case of Adele, the concept 2:08:50.800 --> 2:08:52.720 is really the case of a Yeah, the case of 2:08:52.760 --> 2:08:55.440 a Dell, it was an excuse. But keep going. No, 2:08:55.600 --> 2:08:58.520 but that it's easy. Soon as some departments start to 2:08:58.520 --> 2:09:01.720 go down because those big shows is have the whole 2:09:01.800 --> 2:09:05.040 video team, they've got a whole electronics team, or you know, 2:09:05.160 --> 2:09:07.880 things that move on the stage. They got your projection team, 2:09:08.000 --> 2:09:10.120 you've got your lighting team, your audio team. Is a 2:09:10.120 --> 2:09:12.960 lot of staff there. As soon as they start to drop. 2:09:12.960 --> 2:09:16.960 If the key man goes the designer, director, the main 2:09:17.000 --> 2:09:19.080 sound engineer, who's the best guy in the world, he 2:09:19.200 --> 2:09:21.760 goes down, you can replace them, you know, you find 2:09:21.760 --> 2:09:24.240 someone else to go in. That's when shows can get 2:09:24.240 --> 2:09:26.440 in trouble when it's nothing to do with the autist. 2:09:26.800 --> 2:09:30.080 So these staff members, this is where it becomes complicated. 2:09:30.120 --> 2:09:32.480 Do you force everyone to stay in their hotels and 2:09:32.520 --> 2:09:34.280 not go out when you're a day off. They have 2:09:34.320 --> 2:09:37.160 to live in their hotel room to stay isolated, because 2:09:37.200 --> 2:09:39.520 if they've got the hotel bar, but hanging up with 2:09:39.560 --> 2:09:41.840 another guy. The two lighting guys are going for dinner 2:09:41.880 --> 2:09:44.800 somewhere because a great sushi restaurant. Oh but they caught 2:09:44.800 --> 2:09:46.720 it because they've been out and went for a drink 2:09:46.800 --> 2:09:49.760 at the bar before. Then that's the point. Do you 2:09:49.840 --> 2:09:52.840 not allow anyone to leave? They don't have to stay 2:09:52.840 --> 2:09:55.720 in their rooms to keep it pure. It's really tough 2:09:56.520 --> 2:09:59.560 and to what degree our acts hesitant to go out 2:09:59.560 --> 2:10:02.640 and work. I think the older officer perhaps hesitant to 2:10:02.640 --> 2:10:04.520 go out. And you see Aerosmith just canceled it. To 2:10:05.200 --> 2:10:09.920 think this week or wait last week? UM, yeah, I 2:10:10.240 --> 2:10:13.280 think I see a lot more shows being canceled. We're 2:10:13.400 --> 2:10:17.120 scheduling a bunch of things in Europe. They're definitely getting 2:10:17.240 --> 2:10:19.800 hit hard over there, harder than it feels in the US. 2:10:21.120 --> 2:10:24.160 But this late recent wave in the past couple of months, 2:10:24.200 --> 2:10:30.800 the kron uh you know, strain definitely was so yeah, 2:10:30.840 --> 2:10:33.760 that's probably the thing the worst we've seen, because it's 2:10:33.800 --> 2:10:39.320 so infectious um in comparison to previous strengths. UM. And 2:10:39.400 --> 2:10:42.920 my hope is it's hopefully starting to die off and 2:10:43.240 --> 2:10:46.200 go down, just the numbers of stating that, But then 2:10:46.240 --> 2:10:49.120 I'm sure not too far behind. It will be another string. 2:10:49.680 --> 2:10:52.880 How we keep navigating this? And how about yourself? Have 2:10:53.120 --> 2:10:56.240 you gotten COVID? You know what I did? I caught 2:10:56.240 --> 2:11:00.080 it second of ganguery. I've been all over covering a 2:11:00.080 --> 2:11:02.160 bunch of shows. I was in London, it was in 2:11:02.200 --> 2:11:03.720 New York, it was in d C. We did a 2:11:03.720 --> 2:11:06.120 show at the White House with Pcelli in l A 2:11:06.520 --> 2:11:08.800 I was on a plane. It felt like every other 2:11:08.880 --> 2:11:15.160 day in December. Got home. It's fine, fine for New Year, 2:11:15.240 --> 2:11:18.120 had lunch of friends the New Year's Day, walk up 2:11:18.120 --> 2:11:21.640 in the second in January through a little you know 2:11:21.640 --> 2:11:24.400 particularly but it's just just the cold, because we could 2:11:24.400 --> 2:11:26.600 forget that you can still get a cold. Just got 2:11:26.600 --> 2:11:30.280 tested and it was positive. Fortunately, you know, double jab 2:11:30.720 --> 2:11:35.240 with a booster. It was lighter than a head cold. 2:11:35.600 --> 2:11:39.560 You know, it's a little you know, block sign us. Um, 2:11:39.600 --> 2:11:41.560 it was co feeing a little bit, it was it 2:11:41.600 --> 2:11:43.680 was It's fine. I was working as a normal you know, 2:11:43.760 --> 2:11:45.720 just stay at home that first week in the year. 2:11:45.760 --> 2:11:47.360 So I feel like I'm glad I got out of 2:11:47.360 --> 2:11:50.400 the way. And if that is as bad as it 2:11:50.440 --> 2:11:53.400 will be for someone like me, then I'm okay with that. 2:11:53.440 --> 2:11:57.360 You know. Um yeah, still said that. I caught it. 2:11:57.400 --> 2:11:58.760 I felt like you see all these memes going to 2:11:58.840 --> 2:12:01.920 run with someone with beer and someone's like dodging, dodging, dodging. 2:12:02.440 --> 2:12:04.240 I felt like I was like, great, I've gone around 2:12:04.240 --> 2:12:06.800 the world, have been so many flights, I've skipped this thing. 2:12:06.800 --> 2:12:10.400 I've been everywhere, and then I felt like, where did 2:12:10.400 --> 2:12:12.160 I get that didn't go at any New Year's Eve 2:12:12.200 --> 2:12:16.040 events or parties around anything that was really good. Super quiet, 2:12:16.080 --> 2:12:19.280 mell time still caught. Wow, we can talk for days. 2:12:19.280 --> 2:12:22.520 We're gonna leave it here. We can, we can, we can. Okay, 2:12:22.640 --> 2:12:24.760 It's always great to talk to your Scott YouTube lo 2:12:24.960 --> 2:12:27.600 YouTube Till next time. This is Bob left Sex