1 00:00:01,440 --> 00:00:11,360 Speaker 1: Cast play an. I'm Buzzsnight, the host of Taking a Walk, 2 00:00:11,840 --> 00:00:15,560 Speaker 1: and we are in Nashville for this episode. I hope 3 00:00:15,600 --> 00:00:19,000 Speaker 1: you're going to follow our podcast on Apple Podcasts, Spotify, 4 00:00:19,480 --> 00:00:23,080 Speaker 1: tune in, or wherever you find your podcast. And if 5 00:00:23,079 --> 00:00:26,479 Speaker 1: you enjoyed this episode, please share it with someone who 6 00:00:26,600 --> 00:00:29,920 Speaker 1: needs to hear it. Our guest is someone of tremendous 7 00:00:29,960 --> 00:00:33,080 Speaker 1: influence in the music business here in Nashville and across 8 00:00:33,120 --> 00:00:37,840 Speaker 1: the country. John Loebu, the president of BMG Nashville, will 9 00:00:37,880 --> 00:00:41,280 Speaker 1: be our guest. John is well respected among his peers 10 00:00:41,560 --> 00:00:44,080 Speaker 1: and he's on a tremendous role with his team and 11 00:00:44,120 --> 00:00:48,480 Speaker 1: his artists. Earlier this year, if he wasn't already busy enough, 12 00:00:48,520 --> 00:00:52,159 Speaker 1: he added publishing to his roster of responsibility, and he 13 00:00:52,200 --> 00:00:57,480 Speaker 1: has a powerhouse label with Jason Halde, Dustin Lynch, Jimmy Allen, 14 00:00:58,240 --> 00:01:02,960 Speaker 1: Lady Wilson, and Jelly Role among his standouts. Let's go 15 00:01:03,520 --> 00:01:08,319 Speaker 1: take a Walk with John lowbunt Well. John, thanks for 16 00:01:08,360 --> 00:01:11,199 Speaker 1: being on the Taking a Walk podcast. It's so nice 17 00:01:11,200 --> 00:01:13,000 Speaker 1: to be with you. Thank you so much for having 18 00:01:13,080 --> 00:01:17,240 Speaker 1: me excited. You're in quite a role here. What are 19 00:01:17,840 --> 00:01:20,880 Speaker 1: you most proud of in your in your role as 20 00:01:20,959 --> 00:01:27,600 Speaker 1: a president of BMG Nashville number one, uh, the most important. 21 00:01:27,640 --> 00:01:31,840 Speaker 1: I think. I'm proud that we are a home for 22 00:01:32,040 --> 00:01:36,880 Speaker 1: artists who want to paint outside the lines, and you 23 00:01:36,959 --> 00:01:40,680 Speaker 1: know they're There are definitely places that give artists a 24 00:01:40,800 --> 00:01:45,640 Speaker 1: chance to do that, but I'm proud that we've we've 25 00:01:45,760 --> 00:01:51,080 Speaker 1: proved that doing so cannot only be artistically rewarding, but 26 00:01:52,480 --> 00:01:58,000 Speaker 1: uh profitable as well. You know that painting outside the 27 00:01:58,000 --> 00:02:02,200 Speaker 1: lines can be a main stream proposition if you fight 28 00:02:02,800 --> 00:02:06,320 Speaker 1: for those artists who have unique voices and unique perspectives 29 00:02:06,920 --> 00:02:11,840 Speaker 1: and hope to connect with a large audience. I think 30 00:02:11,880 --> 00:02:17,520 Speaker 1: a lot of times there's fear in doing that, and 31 00:02:18,880 --> 00:02:23,119 Speaker 1: I'm actually more afraid of working with artists who who 32 00:02:23,160 --> 00:02:26,560 Speaker 1: don't have that unique perspective and who are a little 33 00:02:26,560 --> 00:02:29,440 Speaker 1: more safe. I've never really been overly successful with that, 34 00:02:30,160 --> 00:02:33,080 Speaker 1: so I'm really proud of that that we are. I 35 00:02:33,080 --> 00:02:36,160 Speaker 1: think in this town looked at as the place to 36 00:02:36,320 --> 00:02:38,600 Speaker 1: go if you're wanting to do it a little bit 37 00:02:38,639 --> 00:02:43,440 Speaker 1: different and knowing that there will be an entire army 38 00:02:43,480 --> 00:02:47,120 Speaker 1: in this building fighting for you and who will follow 39 00:02:47,160 --> 00:02:53,120 Speaker 1: your lead. We're not dictatorial in any sensor form. We 40 00:02:53,200 --> 00:02:57,480 Speaker 1: are continually saying artist first, artist first, artist first, and 41 00:02:58,000 --> 00:03:00,960 Speaker 1: I think and hope that we back that up and actions, 42 00:03:01,000 --> 00:03:05,679 Speaker 1: not just words. But that didn't happen immediately in what 43 00:03:05,720 --> 00:03:07,560 Speaker 1: you were up to. That took a while to get 44 00:03:07,600 --> 00:03:09,639 Speaker 1: to this right without a doubt, without a doubt. I 45 00:03:09,720 --> 00:03:15,079 Speaker 1: mean when BBR was born and I was fortunate enough 46 00:03:15,080 --> 00:03:21,200 Speaker 1: to be here in the early days, we knew that 47 00:03:21,240 --> 00:03:25,240 Speaker 1: we had to be incredibly focused and not take many shots. 48 00:03:25,800 --> 00:03:28,320 Speaker 1: We had to pour everything we had just into one 49 00:03:28,440 --> 00:03:34,200 Speaker 1: or two three artists, and we were just by the 50 00:03:34,320 --> 00:03:36,640 Speaker 1: sheer sense of having success. With Craig Morgan, who was 51 00:03:36,680 --> 00:03:39,200 Speaker 1: the first artist we had a top ten hit on. 52 00:03:39,960 --> 00:03:43,040 Speaker 1: That was painting outside the lines. Even though Craig had 53 00:03:43,480 --> 00:03:48,080 Speaker 1: come over with me from Atlantic Records, the fact that 54 00:03:48,120 --> 00:03:51,800 Speaker 1: we went to an independent who you know, for decades 55 00:03:51,840 --> 00:03:55,400 Speaker 1: independence had had no measurable success. It was painting outside 56 00:03:55,440 --> 00:03:58,040 Speaker 1: the lines to think that we could have success. And 57 00:03:58,080 --> 00:03:59,800 Speaker 1: as we started to get on a roll with Craig, 58 00:04:00,160 --> 00:04:04,040 Speaker 1: a young man by the name of Jason Aldan who 59 00:04:04,160 --> 00:04:07,760 Speaker 1: two other labels had thought, you know, were too country 60 00:04:08,680 --> 00:04:14,400 Speaker 1: or were too rock for the format and had released 61 00:04:14,440 --> 00:04:16,080 Speaker 1: and Jason was ready to go. You know, if the 62 00:04:16,160 --> 00:04:18,080 Speaker 1: story's famous ready to go back to Georgia and drive 63 00:04:18,120 --> 00:04:22,720 Speaker 1: a Pepsi truck. He came floating into our world and 64 00:04:22,760 --> 00:04:25,720 Speaker 1: there was just something incredibly unique, and I think in 65 00:04:26,839 --> 00:04:29,880 Speaker 1: signing Jason was born in the d of this label 66 00:04:30,160 --> 00:04:34,880 Speaker 1: of fighting for fighting for an artist with a unique 67 00:04:34,960 --> 00:04:40,480 Speaker 1: voice who most did not consider a mainstream country and 68 00:04:40,600 --> 00:04:43,640 Speaker 1: now he changed the genre and has thought of in 69 00:04:43,680 --> 00:04:46,640 Speaker 1: that way. So we had, but there was so that 70 00:04:46,760 --> 00:04:49,200 Speaker 1: was a pivotal moment in that growth you speak of 71 00:04:49,360 --> 00:04:52,640 Speaker 1: or that change that you speak of. And we had 72 00:04:52,720 --> 00:04:59,560 Speaker 1: varying degrees of success, but this new iteration of BMG BBR, 73 00:05:00,200 --> 00:05:05,000 Speaker 1: where we are really, we are really taking some chances 74 00:05:06,120 --> 00:05:08,880 Speaker 1: was allowed to occur when we were acquired by BMG. 75 00:05:10,040 --> 00:05:14,320 Speaker 1: They very much were a company that deepened its DNA 76 00:05:15,200 --> 00:05:20,760 Speaker 1: preached artist first, preached being a home for artists who 77 00:05:20,839 --> 00:05:23,520 Speaker 1: had no other homes, and it was specifically one of 78 00:05:23,560 --> 00:05:28,679 Speaker 1: the reasons we chose BMG UH as our acquisition partner 79 00:05:29,240 --> 00:05:32,960 Speaker 1: because of that ethos, because of those values, and in 80 00:05:33,040 --> 00:05:38,880 Speaker 1: that moment when I officially became the head of BBR 81 00:05:38,920 --> 00:05:42,760 Speaker 1: and BMG, I wanted to send a signal to the 82 00:05:42,800 --> 00:05:47,040 Speaker 1: community that things were different and even more so we 83 00:05:47,040 --> 00:05:51,839 Speaker 1: were a home for artists, special artists who had a voice, 84 00:05:52,240 --> 00:05:55,720 Speaker 1: who had a brand, and I had made a statement 85 00:05:55,760 --> 00:05:59,200 Speaker 1: I didn't care if I signed another solo meal for 86 00:05:59,440 --> 00:06:02,000 Speaker 1: solo mail for three or four years because there were 87 00:06:02,040 --> 00:06:04,400 Speaker 1: so many of them there. I wanted something different. And 88 00:06:04,480 --> 00:06:08,040 Speaker 1: a postcard of a guy came floating across my desk 89 00:06:08,320 --> 00:06:12,080 Speaker 1: that was wearing Converse and he looked like he was 90 00:06:12,960 --> 00:06:16,240 Speaker 1: doing the splits. Then it was Jimmy Allen. So I 91 00:06:16,320 --> 00:06:19,120 Speaker 1: went to a showcase, was blown away, then sat down 92 00:06:19,160 --> 00:06:22,120 Speaker 1: with him, heard him acoustically and as important, heard his 93 00:06:22,200 --> 00:06:26,520 Speaker 1: story and said, I want that to represent what the 94 00:06:26,600 --> 00:06:31,599 Speaker 1: new BBR BMG is and it's just it's grown from there. 95 00:06:31,680 --> 00:06:34,520 Speaker 1: So we had that success that gave us more success, 96 00:06:34,560 --> 00:06:38,279 Speaker 1: and probably as important, our partners more success and going 97 00:06:38,320 --> 00:06:43,680 Speaker 1: on the journey with us and saying, Okay, they're not 98 00:06:43,800 --> 00:06:46,480 Speaker 1: afraid to tackle something different and they're going to back 99 00:06:46,520 --> 00:06:52,200 Speaker 1: it up with tenacity, with resources, with passion. And each 100 00:06:52,279 --> 00:06:56,440 Speaker 1: time you do that, you're asking them to have a 101 00:06:56,480 --> 00:06:59,240 Speaker 1: little less you know, a little take a little less 102 00:06:59,240 --> 00:07:04,360 Speaker 1: of a chance because we've delivered before. So I'm very 103 00:07:04,440 --> 00:07:07,000 Speaker 1: proud of that as well that our partners see us 104 00:07:07,040 --> 00:07:09,479 Speaker 1: as that and give us the benefit of the doubt, 105 00:07:09,520 --> 00:07:13,240 Speaker 1: where maybe even five years ago they didn't. I've chise 106 00:07:13,320 --> 00:07:15,560 Speaker 1: you telling the Jimmy Allen story. I mean, that is 107 00:07:15,600 --> 00:07:19,280 Speaker 1: so marvelous of a moment. I have to think before 108 00:07:19,320 --> 00:07:22,960 Speaker 1: you reach that moment, though, there were probably some dark 109 00:07:23,000 --> 00:07:25,240 Speaker 1: moments where you weren't sure where this was all headed. 110 00:07:25,320 --> 00:07:29,680 Speaker 1: Is that correct? I always had a confidence when BMG 111 00:07:29,800 --> 00:07:35,400 Speaker 1: acquired us that we were set up for success. Before 112 00:07:35,480 --> 00:07:41,280 Speaker 1: that acquisition, we had two Achilles heels, We didn't have 113 00:07:42,080 --> 00:07:45,800 Speaker 1: representation and other genres. We were strictly an independent country 114 00:07:45,880 --> 00:07:49,840 Speaker 1: label based in Nashville, and we had zero international presence. 115 00:07:50,360 --> 00:07:54,680 Speaker 1: So as we were trying to sign acts our competitors, 116 00:07:54,680 --> 00:07:56,080 Speaker 1: all they have to do is say, hey, do you 117 00:07:56,120 --> 00:07:58,760 Speaker 1: ever want to have a crossover hit? The answer is yes, 118 00:07:58,800 --> 00:08:01,720 Speaker 1: well not the place, no matter how good they are 119 00:08:01,840 --> 00:08:04,080 Speaker 1: country And oh, by the way, artists, do you have 120 00:08:04,160 --> 00:08:08,360 Speaker 1: any international intentions? If the answer is yes, then BBR 121 00:08:08,440 --> 00:08:11,440 Speaker 1: is not your place. And whenever we lost out on 122 00:08:11,560 --> 00:08:14,240 Speaker 1: artists we wanted to sign, it was always those, you know, 123 00:08:14,320 --> 00:08:16,800 Speaker 1: one of those or a combination of the two. So 124 00:08:16,840 --> 00:08:22,040 Speaker 1: I was actually really optimistic when we were acquired and 125 00:08:22,520 --> 00:08:28,040 Speaker 1: the fact that they really believed in what we were 126 00:08:28,080 --> 00:08:31,880 Speaker 1: doing and believed in this artist first stance, and believed 127 00:08:31,920 --> 00:08:36,280 Speaker 1: in strong relationships with managers and following an artist and 128 00:08:36,320 --> 00:08:40,480 Speaker 1: a manager's lead. I can't say overall there was a 129 00:08:40,600 --> 00:08:49,199 Speaker 1: dark moment. There were several close executive friends in this town, 130 00:08:49,360 --> 00:08:51,280 Speaker 1: and in fact, the label head or two when they 131 00:08:51,320 --> 00:08:54,880 Speaker 1: knew I was going to sign Jimmy, who said, you know, 132 00:08:56,080 --> 00:08:59,080 Speaker 1: we love you and you will forever be on record 133 00:08:59,120 --> 00:09:02,640 Speaker 1: as Jimmy being your first signing, that is a massive risk. 134 00:09:02,760 --> 00:09:06,920 Speaker 1: And I said why and they and they said, you know, 135 00:09:07,160 --> 00:09:11,679 Speaker 1: because of the track record, how difficult it is to 136 00:09:12,160 --> 00:09:15,839 Speaker 1: have success with black artists in the genre. And they 137 00:09:15,880 --> 00:09:18,520 Speaker 1: meant it in the most loving way. They're like, maybe 138 00:09:18,520 --> 00:09:21,360 Speaker 1: that should be your second or third signing, you know. 139 00:09:22,120 --> 00:09:25,360 Speaker 1: And the former owner of BBR even had said that 140 00:09:25,400 --> 00:09:30,920 Speaker 1: he had signed a black female before I even had 141 00:09:30,960 --> 00:09:33,760 Speaker 1: the label, just was an investor with her and talked 142 00:09:33,800 --> 00:09:37,000 Speaker 1: about all the challenges a few decades ago that he 143 00:09:37,080 --> 00:09:40,120 Speaker 1: had and he cautioned me as well. But I thought, 144 00:09:40,120 --> 00:09:44,880 Speaker 1: if I go down swinging, I want to go down swinging, 145 00:09:45,280 --> 00:09:48,719 Speaker 1: making a difference and taking chances. So I didn't care 146 00:09:48,800 --> 00:09:52,640 Speaker 1: what it ultimately would be I still wanted that to 147 00:09:52,720 --> 00:09:57,280 Speaker 1: be the legacy of BMG going forward in my legacy. 148 00:09:57,400 --> 00:10:02,760 Speaker 1: So there were definitely a couple of moments where because 149 00:10:02,800 --> 00:10:05,040 Speaker 1: I respect, you know, some of those people that were 150 00:10:05,480 --> 00:10:08,720 Speaker 1: giving me advice so much were for a minute, it 151 00:10:08,840 --> 00:10:11,760 Speaker 1: scared me for a bit. But what scared me more 152 00:10:11,880 --> 00:10:17,280 Speaker 1: is always is not taking chances. Whenever I've played it safe, 153 00:10:17,400 --> 00:10:21,679 Speaker 1: it's never been the right move Oprah. Years ago, I 154 00:10:21,720 --> 00:10:26,880 Speaker 1: remember watching her and they asked about what she attributed 155 00:10:26,920 --> 00:10:30,040 Speaker 1: her success to. And number one, she said, the amazing 156 00:10:30,520 --> 00:10:33,600 Speaker 1: teams I've always had around me, and that really made 157 00:10:33,880 --> 00:10:35,640 Speaker 1: impression on me. And then she said, the other thing 158 00:10:35,720 --> 00:10:39,959 Speaker 1: is the intuition. Listen to that inner voice. And even 159 00:10:40,000 --> 00:10:43,520 Speaker 1: if that inner voice doesn't lead you to success, at 160 00:10:43,640 --> 00:10:48,600 Speaker 1: least you've you've not sat there and wondered if it 161 00:10:48,679 --> 00:10:50,480 Speaker 1: was wrong. And then in her case, the inner voice 162 00:10:50,559 --> 00:10:53,480 Speaker 1: was always the right thing. Turns out, well, you're a 163 00:10:53,480 --> 00:10:56,600 Speaker 1: guy that likes data. I know that I love data. 164 00:10:56,679 --> 00:10:59,880 Speaker 1: So how do you balance the power of science and 165 00:11:00,240 --> 00:11:04,280 Speaker 1: data with good instinct? Yeah, yeah, it's a balancing act. 166 00:11:04,400 --> 00:11:08,720 Speaker 1: Is as I've matured and been through this, it's you know, 167 00:11:09,400 --> 00:11:14,440 Speaker 1: over the many years it's becoming an easier balancing act. 168 00:11:15,360 --> 00:11:19,560 Speaker 1: In the early days of BBR Music Group, we had 169 00:11:19,640 --> 00:11:24,439 Speaker 1: no leverage of big artists, we had very limited financial resources. 170 00:11:25,440 --> 00:11:27,719 Speaker 1: We had two things. We had the relationships of our 171 00:11:27,840 --> 00:11:34,320 Speaker 1: staff and we had and we had some data along 172 00:11:34,400 --> 00:11:40,800 Speaker 1: with some really compelling music. And there was an individual 173 00:11:40,920 --> 00:11:43,680 Speaker 1: back in the day after I had been to BBR 174 00:11:43,840 --> 00:11:47,560 Speaker 1: for it for five or six years, and he said, 175 00:11:47,600 --> 00:11:50,440 Speaker 1: I don't think there's a better storyteller than your label, 176 00:11:50,679 --> 00:11:53,920 Speaker 1: because you always back it up with facts. And it was, 177 00:11:54,000 --> 00:11:56,520 Speaker 1: you know, at that point in time, it was sound scan, 178 00:11:59,640 --> 00:12:04,960 Speaker 1: ticket sales, merch sales. Again, we didn't have anything else 179 00:12:05,000 --> 00:12:08,080 Speaker 1: but relationships and the stories, so we really had to 180 00:12:08,720 --> 00:12:11,800 Speaker 1: make use of those and really leaned on them. And 181 00:12:12,240 --> 00:12:15,560 Speaker 1: as an industry in general, the record community is really 182 00:12:15,600 --> 00:12:20,800 Speaker 1: good at educating our radio partners and then partners beyond 183 00:12:21,600 --> 00:12:24,120 Speaker 1: in what matters. When I got into the business, I 184 00:12:24,160 --> 00:12:26,960 Speaker 1: was a coordinator at Warner Brothers, and I remember the 185 00:12:26,960 --> 00:12:30,640 Speaker 1: discussion then was does sound scan matter? You know, should 186 00:12:30,920 --> 00:12:33,840 Speaker 1: only radio research? Would should matter? A lot of radio 187 00:12:33,920 --> 00:12:38,240 Speaker 1: executives said, and they came because the record community in 188 00:12:38,440 --> 00:12:41,760 Speaker 1: mass kept trying to show why sound scan mattered. They 189 00:12:41,800 --> 00:12:46,000 Speaker 1: eventually said, you know, Leeah, we should look at that data. 190 00:12:46,000 --> 00:12:47,880 Speaker 1: It's a tool, we should look at that. Then it 191 00:12:47,920 --> 00:12:53,280 Speaker 1: moved into iTunes downloads, and there was not really an 192 00:12:53,360 --> 00:12:57,200 Speaker 1: acknowledgment of that for a long time. But through country 193 00:12:57,280 --> 00:13:01,480 Speaker 1: radio seminar and many articles, we just talking to our partners, 194 00:13:01,520 --> 00:13:04,720 Speaker 1: we educated real well there that moved. Then it moved 195 00:13:04,720 --> 00:13:08,040 Speaker 1: on to streaming, and at each point in time where 196 00:13:08,080 --> 00:13:12,480 Speaker 1: there was not much weight given to those specific data points, 197 00:13:13,080 --> 00:13:15,920 Speaker 1: the record community and the radio community got together and 198 00:13:17,679 --> 00:13:21,679 Speaker 1: educated each other, and I think the pendulum swings from 199 00:13:22,400 --> 00:13:27,559 Speaker 1: not making any difference to solely making decisions based on that. 200 00:13:27,880 --> 00:13:31,880 Speaker 1: Neither of those are the most beneficial worlds, in my opinion, 201 00:13:31,920 --> 00:13:35,240 Speaker 1: to live in. And so right now, over the last year, 202 00:13:35,280 --> 00:13:38,720 Speaker 1: what I've been trying to do is talk to radio, 203 00:13:38,880 --> 00:13:44,559 Speaker 1: our radio friends about taking chances, paying attention to that gut. 204 00:13:46,160 --> 00:13:48,280 Speaker 1: It doesn't mean you have to play if you love 205 00:13:48,320 --> 00:13:50,920 Speaker 1: an artist, if you love a piece of music. It 206 00:13:50,920 --> 00:13:54,200 Speaker 1: doesn't mean you have to play everything that doesn't have 207 00:13:54,679 --> 00:14:01,760 Speaker 1: a streaming story or a touring story. But recognize the role. 208 00:14:01,840 --> 00:14:06,199 Speaker 1: Radio should recognize that role as thought leaders, opinion leaders, 209 00:14:06,240 --> 00:14:11,160 Speaker 1: setting the agenda, because if you're only magnifying streaming hits, 210 00:14:12,760 --> 00:14:14,400 Speaker 1: what is the real function there? And a lot of 211 00:14:14,400 --> 00:14:17,640 Speaker 1: times when you're magnifying streaming hits, you're on the back 212 00:14:17,679 --> 00:14:20,520 Speaker 1: of something that is maybe six months old. And if 213 00:14:20,520 --> 00:14:22,960 Speaker 1: the station's going on air saying here's a new song 214 00:14:23,040 --> 00:14:28,000 Speaker 1: from Hardy and it's been played for six months, there's 215 00:14:28,000 --> 00:14:31,520 Speaker 1: a good percentage of that audience that says that's not new. 216 00:14:31,960 --> 00:14:34,280 Speaker 1: Now you're a dinosaur. So a big part of what 217 00:14:34,320 --> 00:14:37,400 Speaker 1: I've been talking about is just that very balance, and 218 00:14:37,440 --> 00:14:40,840 Speaker 1: I think there's not a better example of that balance 219 00:14:40,920 --> 00:14:47,920 Speaker 1: than Lany Wilson. We had a decent streaming story, not spectacular. 220 00:14:48,400 --> 00:14:54,320 Speaker 1: We had some critical press, not in mass I don't 221 00:14:54,360 --> 00:14:59,040 Speaker 1: believe we even had any major TV appearances, but radio 222 00:14:59,160 --> 00:15:03,320 Speaker 1: had started playing saying things a man ought to know. 223 00:15:03,840 --> 00:15:10,040 Speaker 1: And we had put Lanny Wilson on the iHeart label 224 00:15:10,880 --> 00:15:14,040 Speaker 1: meetings one year, and then the very next year came 225 00:15:14,080 --> 00:15:17,600 Speaker 1: back and put her on again to say she's important. 226 00:15:17,680 --> 00:15:21,040 Speaker 1: We haven't had success yet or the success that we want, 227 00:15:21,080 --> 00:15:25,360 Speaker 1: but she's important. Forget the data, this is an important artist. 228 00:15:25,360 --> 00:15:29,600 Speaker 1: And Rod Phillips called me up two days later and said, hey, 229 00:15:31,080 --> 00:15:34,120 Speaker 1: you obviously put her on for a reason. And you're 230 00:15:34,160 --> 00:15:37,760 Speaker 1: obviously committed to her. Do you think you can get 231 00:15:37,760 --> 00:15:40,840 Speaker 1: this current single that's out there? And I said, with 232 00:15:40,960 --> 00:15:45,560 Speaker 1: iHeart support leading the way, I promise you we will 233 00:15:45,680 --> 00:15:49,160 Speaker 1: because whenever iHeart has given us the chance on an 234 00:15:49,160 --> 00:15:51,600 Speaker 1: on the verge act, it's kind of insight baseball, but 235 00:15:51,640 --> 00:15:57,480 Speaker 1: they're featured act for a period of time. We've always 236 00:15:57,480 --> 00:15:59,760 Speaker 1: delivered a number one on that act and always followed 237 00:15:59,760 --> 00:16:02,200 Speaker 1: her up with the top five. So they gave us 238 00:16:02,240 --> 00:16:06,720 Speaker 1: that chance. The rest of the Radio had confidence and 239 00:16:08,840 --> 00:16:13,320 Speaker 1: built this story and they created the data because they 240 00:16:13,360 --> 00:16:15,840 Speaker 1: followed their gut. We followed our gut and putting her 241 00:16:16,120 --> 00:16:19,040 Speaker 1: back in that spotlight. They followed Radio followed their gut 242 00:16:19,040 --> 00:16:22,920 Speaker 1: and that this was an important artist. So you know, 243 00:16:22,960 --> 00:16:27,720 Speaker 1: there's some labels that sign primarily based on streaming data, 244 00:16:27,840 --> 00:16:32,280 Speaker 1: sign new acts. There are some labels primarily smaller that 245 00:16:32,320 --> 00:16:35,800 Speaker 1: signed just based on gut. When I'm signing acts, it's 246 00:16:35,800 --> 00:16:38,680 Speaker 1: a balancing act if there's something Jelly Roll was the 247 00:16:38,720 --> 00:16:45,720 Speaker 1: perfect example. He had significant streaming data, so I was 248 00:16:45,720 --> 00:16:48,080 Speaker 1: interested from that perspective, but then I got as I 249 00:16:48,080 --> 00:16:50,600 Speaker 1: got to know him as a person and his art 250 00:16:50,720 --> 00:16:55,520 Speaker 1: and his desire to move beyond to reach an even 251 00:16:55,560 --> 00:16:59,640 Speaker 1: wider audience. It was the data was there, but it 252 00:16:59,680 --> 00:17:04,640 Speaker 1: took gut to go, let's go larger than your traditional audience. 253 00:17:04,720 --> 00:17:06,800 Speaker 1: So I rambled a lot. I don't know if that 254 00:17:07,040 --> 00:17:09,800 Speaker 1: if I answered or not. I think you did. And 255 00:17:09,880 --> 00:17:13,280 Speaker 1: I think it's fair to say that every format of 256 00:17:13,320 --> 00:17:19,440 Speaker 1: some type goes through this quagmire where the science overwhelms 257 00:17:19,480 --> 00:17:22,439 Speaker 1: the gut agree and then it becomes a bit of 258 00:17:22,480 --> 00:17:29,240 Speaker 1: a stagnation problem. And it just takes someone frankly at 259 00:17:29,720 --> 00:17:32,960 Speaker 1: a radio position, not being afraid to lose their job 260 00:17:33,200 --> 00:17:37,080 Speaker 1: and to believe in their brand and how to navigate 261 00:17:37,119 --> 00:17:39,919 Speaker 1: their audience without a doubt that I could not have 262 00:17:40,000 --> 00:17:44,160 Speaker 1: said that better. And again, Jelly's a beautiful manifestation of that. 263 00:17:44,680 --> 00:17:46,840 Speaker 1: He had a rock album called Son of a Sinner, 264 00:17:46,840 --> 00:17:51,800 Speaker 1: and we had a we had a number one record 265 00:17:51,800 --> 00:17:55,199 Speaker 1: at rock radio with a different track, and there were 266 00:17:55,320 --> 00:17:59,720 Speaker 1: country programmers that we were just introducing Jelly. I wanted 267 00:17:59,760 --> 00:18:02,040 Speaker 1: to work them up for this country album, and there 268 00:18:02,040 --> 00:18:04,879 Speaker 1: were three or four programmers that went, hey, this song 269 00:18:05,119 --> 00:18:09,359 Speaker 1: son of a Sinner, that's a country song. And I said, well, yeah, 270 00:18:09,359 --> 00:18:12,000 Speaker 1: we always thought it, but we knew we couldn't, you know, 271 00:18:12,280 --> 00:18:15,160 Speaker 1: shove it down anybody else's anybody's throat, and we had 272 00:18:15,160 --> 00:18:17,440 Speaker 1: to warm you up to jelly, get to know them. 273 00:18:17,720 --> 00:18:20,280 Speaker 1: We weren't even pushing that record at the very beginning. 274 00:18:21,400 --> 00:18:23,720 Speaker 1: It was. It was three or four stations at country 275 00:18:23,800 --> 00:18:28,440 Speaker 1: radio who embraced it on their own and created created 276 00:18:28,440 --> 00:18:34,120 Speaker 1: that story and accelerated our entrance to the genre, our 277 00:18:34,119 --> 00:18:38,919 Speaker 1: connection with the genre. So another great example, isn't it 278 00:18:38,960 --> 00:18:43,720 Speaker 1: true that the great programmers tend to assess their marketplace, 279 00:18:44,040 --> 00:18:46,679 Speaker 1: especially if they're in a head to head battle, and 280 00:18:46,720 --> 00:18:51,120 Speaker 1: they look at playlists, you know, gold Current and say, 281 00:18:51,160 --> 00:18:54,879 Speaker 1: wait a minute, we both can't sound identical without a dent. 282 00:18:54,960 --> 00:18:57,160 Speaker 1: And then the ones that step out are the ones 283 00:18:57,200 --> 00:18:59,600 Speaker 1: that kind of lead and as you say, set the 284 00:18:59,640 --> 00:19:03,439 Speaker 1: agenda without a doubt. I mean, you know, legendary station 285 00:19:03,640 --> 00:19:07,560 Speaker 1: such as when Brian Phillips was, you know, programming in Dallas, 286 00:19:07,640 --> 00:19:11,440 Speaker 1: and that whole dynamic so so very true, and I 287 00:19:14,119 --> 00:19:16,600 Speaker 1: the wanna be radio guy and me always sees those 288 00:19:16,640 --> 00:19:20,000 Speaker 1: situations and it's so jealous or sees a stagnant market, 289 00:19:20,440 --> 00:19:22,520 Speaker 1: you know, where two stations are just going through the 290 00:19:22,560 --> 00:19:26,960 Speaker 1: motions and doing the same old, same old. I go man, 291 00:19:27,000 --> 00:19:29,360 Speaker 1: I'd love to, and I think, if I'm ever filthy rich, 292 00:19:29,400 --> 00:19:31,280 Speaker 1: I'm just going to go buy a station one of 293 00:19:31,320 --> 00:19:34,520 Speaker 1: those markets and try to go up against that person. 294 00:19:34,600 --> 00:19:37,399 Speaker 1: I wanted to be in radio and college, and the 295 00:19:37,440 --> 00:19:40,360 Speaker 1: dean of my school said, your content is great, kid, 296 00:19:40,440 --> 00:19:44,159 Speaker 1: your voice sucks. You'll never make it radio, and so 297 00:19:44,240 --> 00:19:45,879 Speaker 1: I didn't know any better. I'm like, Okay, well, I 298 00:19:45,880 --> 00:19:49,639 Speaker 1: got to figure something else out. And then you know, 299 00:19:50,040 --> 00:19:53,959 Speaker 1: fast forward and I see Howard Stern and some others 300 00:19:54,040 --> 00:19:56,920 Speaker 1: not great voices but amazing content, and I think, man, 301 00:19:56,920 --> 00:19:59,880 Speaker 1: I really I missed it, but you missed the opportunity. 302 00:20:00,040 --> 00:20:02,840 Speaker 1: I missed that opportunity. So I still I think, in 303 00:20:03,240 --> 00:20:07,160 Speaker 1: some later iteration, I want to I want to own 304 00:20:07,160 --> 00:20:10,359 Speaker 1: a radio station. I really do. We'll have to talk 305 00:20:10,359 --> 00:20:13,960 Speaker 1: about that offline. Yeah, yeah, yeah. Where did you go 306 00:20:14,000 --> 00:20:18,520 Speaker 1: to school? Central Michigan University out in the middle of 307 00:20:18,520 --> 00:20:21,040 Speaker 1: a cornfield in Michigan. I knew I couldn't get into 308 00:20:20,920 --> 00:20:23,280 Speaker 1: too much trouble there, and I was going and it 309 00:20:23,359 --> 00:20:26,840 Speaker 1: was a finance and economics major because I wanted a 310 00:20:26,840 --> 00:20:29,240 Speaker 1: business degree, and I thought, well, marketing, I can sort 311 00:20:29,280 --> 00:20:32,119 Speaker 1: of figure that out. I was terrible in math and 312 00:20:32,200 --> 00:20:34,560 Speaker 1: wanted to challenge myself. And it turns out I was 313 00:20:35,320 --> 00:20:38,800 Speaker 1: really good in finance. I was going to go to 314 00:20:38,840 --> 00:20:41,640 Speaker 1: New York and get an investment banking and I think 315 00:20:41,960 --> 00:20:46,320 Speaker 1: I taught it. I helped with a graduate level course 316 00:20:46,359 --> 00:20:50,320 Speaker 1: even at Central. It somehow something clicked and I was in. 317 00:20:51,080 --> 00:20:53,960 Speaker 1: So when did you first know though you were hooked 318 00:20:54,000 --> 00:20:58,240 Speaker 1: on the music business? I had? There was there was 319 00:20:58,280 --> 00:21:02,399 Speaker 1: a man who we always thought was a family friend. 320 00:21:02,760 --> 00:21:06,720 Speaker 1: In fact, he lived with my grandparents and they owned 321 00:21:06,760 --> 00:21:13,720 Speaker 1: a restaurant together in southern California. And after my grandmother died, 322 00:21:13,760 --> 00:21:16,200 Speaker 1: we found out he was not a family friend. He 323 00:21:16,320 --> 00:21:21,200 Speaker 1: was my grandfather and his whole family was from Cookville, Tennessee. 324 00:21:21,400 --> 00:21:28,000 Speaker 1: So when I graduated Central Michigan, I drove down and 325 00:21:28,040 --> 00:21:30,840 Speaker 1: spent a week getting to know the family and discovered 326 00:21:30,960 --> 00:21:33,879 Speaker 1: Music Row. And I had always wanted to be an 327 00:21:34,000 --> 00:21:38,120 Speaker 1: entertainment but I thought and completely wrong by the way 328 00:21:38,119 --> 00:21:41,200 Speaker 1: as I've wanted. I thought, well, you know, entertainment industry, 329 00:21:41,240 --> 00:21:43,840 Speaker 1: it's backstabbing and it's full of politics and you have 330 00:21:43,880 --> 00:21:46,640 Speaker 1: to sell your soul. And in Music Row, I found 331 00:21:46,680 --> 00:21:53,680 Speaker 1: this beautiful, warm, supportive community. And I mean just from 332 00:21:53,760 --> 00:21:57,080 Speaker 1: driving around. I drove around three days, three different days. 333 00:22:00,119 --> 00:22:02,480 Speaker 1: My mom and stepdad owned a farm in Michigan where 334 00:22:02,480 --> 00:22:05,119 Speaker 1: I grew up, and I left and went back up 335 00:22:05,160 --> 00:22:08,800 Speaker 1: to the farm and was really conflicted. And my parents 336 00:22:08,800 --> 00:22:10,640 Speaker 1: were great. They said, just go do what makes you happy, 337 00:22:10,680 --> 00:22:12,399 Speaker 1: because I said, I have no skill set, I have 338 00:22:12,440 --> 00:22:15,840 Speaker 1: no training anything, but I just feel this desire to 339 00:22:15,840 --> 00:22:18,520 Speaker 1: be in the music industry in Nashville. So I was 340 00:22:18,560 --> 00:22:24,600 Speaker 1: out on our writing lawnmower and I had earphones in 341 00:22:25,720 --> 00:22:28,360 Speaker 1: and I said, God, I'm so conflicted. I know, I'm 342 00:22:28,400 --> 00:22:31,320 Speaker 1: been to church very regularly. I'm a hot mess, but 343 00:22:31,600 --> 00:22:34,520 Speaker 1: please just talk to me like I need a signal, 344 00:22:34,520 --> 00:22:37,840 Speaker 1: and I need a very strong signal. And not thirty 345 00:22:37,920 --> 00:22:42,280 Speaker 1: seconds later, Garth Brokes the River came on and I 346 00:22:42,480 --> 00:22:45,760 Speaker 1: looked up. I'm like, okay, that was that was strong. 347 00:22:45,920 --> 00:22:49,479 Speaker 1: I gotcha and walked in the house and said, hey, 348 00:22:49,480 --> 00:22:51,959 Speaker 1: I'm going to move to Tennessee. So I moved down 349 00:22:52,000 --> 00:22:56,400 Speaker 1: here with five hundred bucks and it made it work. 350 00:22:56,480 --> 00:22:59,760 Speaker 1: So of course I told Garth that story and he 351 00:23:00,040 --> 00:23:04,120 Speaker 1: and he's as wonderful and warm as he as. He said. 352 00:23:04,480 --> 00:23:06,800 Speaker 1: He didn't take credit. He's like, did you tell Victoria Shaw, 353 00:23:06,960 --> 00:23:10,560 Speaker 1: the songwriter that story? She'll love it. I said no, 354 00:23:10,640 --> 00:23:14,880 Speaker 1: but I certainly will. But it was your voice bringing 355 00:23:14,880 --> 00:23:17,360 Speaker 1: that song to life. So I have you to you 356 00:23:17,400 --> 00:23:20,840 Speaker 1: to thank first for my music industry career. How special 357 00:23:20,960 --> 00:23:22,760 Speaker 1: he brought it back to the song right he did? 358 00:23:22,920 --> 00:23:26,439 Speaker 1: He did absolutely, which is so cool. So in the 359 00:23:26,760 --> 00:23:29,959 Speaker 1: A and R process, what's the typical length of time 360 00:23:30,560 --> 00:23:37,040 Speaker 1: from discovery of something to pursue to you know, final signing. Yeah, 361 00:23:37,160 --> 00:23:46,040 Speaker 1: it we move really slow comparative to other labels, and 362 00:23:46,080 --> 00:23:50,359 Speaker 1: we missed out on some things in that. Once in 363 00:23:50,400 --> 00:23:54,120 Speaker 1: a while I'll sign really quickly Laney and Jimmy, were 364 00:23:55,000 --> 00:23:58,960 Speaker 1: you on the spot signings? But and it's becoming faster 365 00:23:59,080 --> 00:24:00,760 Speaker 1: because all the data is out there. I just have 366 00:24:00,840 --> 00:24:04,320 Speaker 1: to move faster. But in general, I want to get 367 00:24:04,359 --> 00:24:06,560 Speaker 1: to know the music. I want to get to know 368 00:24:06,640 --> 00:24:09,800 Speaker 1: the person, get to know their heart and their dreams, 369 00:24:10,400 --> 00:24:12,800 Speaker 1: to figure out if I think if I think we 370 00:24:12,880 --> 00:24:14,960 Speaker 1: will be a good fit, and then once it makes 371 00:24:14,960 --> 00:24:17,560 Speaker 1: it through that filter, and the same goes for arin 372 00:24:17,680 --> 00:24:20,199 Speaker 1: R department, they go through that same process. Once we 373 00:24:20,240 --> 00:24:23,040 Speaker 1: go through that filter, then I want to bring in 374 00:24:23,080 --> 00:24:28,240 Speaker 1: the entire team and get a sense if the artist 375 00:24:28,280 --> 00:24:29,879 Speaker 1: feels like they fit with that team, and if the 376 00:24:29,920 --> 00:24:33,639 Speaker 1: team feels like they fit with that artist. Once in 377 00:24:33,680 --> 00:24:36,679 Speaker 1: a while I'll just throw the sword down and say, hey, 378 00:24:36,720 --> 00:24:39,879 Speaker 1: we're going and luckily they trust and follow and and 379 00:24:41,320 --> 00:24:45,040 Speaker 1: really believe. But more often than not, it's getting entire 380 00:24:45,560 --> 00:24:47,399 Speaker 1: team or the majority of a team buy in, and 381 00:24:47,440 --> 00:24:49,760 Speaker 1: that can take I mean, i'd say on average, it 382 00:24:49,800 --> 00:24:57,600 Speaker 1: takes two to four months, you know, in that process, 383 00:24:57,640 --> 00:25:02,480 Speaker 1: sometimes longer. There's been, you know, instances where I've said, hey, 384 00:25:02,560 --> 00:25:05,439 Speaker 1: it's not a no, but it's not right now. You know, 385 00:25:05,480 --> 00:25:07,560 Speaker 1: you need to develop a little bit more. And I 386 00:25:07,560 --> 00:25:10,920 Speaker 1: always say, if you have other opportunities that you think work, certainly, 387 00:25:11,680 --> 00:25:14,040 Speaker 1: you know, take those. There's an artist right now who 388 00:25:15,280 --> 00:25:18,920 Speaker 1: two or three different labels are talking to and wanting 389 00:25:18,960 --> 00:25:21,880 Speaker 1: to sign. And I said, I don't want to hold 390 00:25:21,920 --> 00:25:23,800 Speaker 1: you up. I said, I don't, you know, I want 391 00:25:23,840 --> 00:25:26,560 Speaker 1: to make sure we have the bandwidth to give you 392 00:25:26,600 --> 00:25:30,760 Speaker 1: the attention you deserve. And they've now held on for 393 00:25:31,280 --> 00:25:33,119 Speaker 1: four or five months. They said, no, if there's a 394 00:25:33,240 --> 00:25:37,560 Speaker 1: chance within the next twelve eighteen months, will wait. We 395 00:25:37,600 --> 00:25:39,720 Speaker 1: want to be with you. I said, I can't guarantee anything. 396 00:25:39,880 --> 00:25:42,240 Speaker 1: So that's more rare than not, I mean, and I 397 00:25:42,320 --> 00:25:45,359 Speaker 1: encourage people if they've got something on the table and 398 00:25:45,440 --> 00:25:47,600 Speaker 1: it's going to be a while for us to take it, 399 00:25:47,720 --> 00:25:52,800 Speaker 1: but once in a while they will wait. How do 400 00:25:52,880 --> 00:25:56,880 Speaker 1: you provide an environment with your team where you give 401 00:25:56,920 --> 00:25:59,879 Speaker 1: them the room to voice their opinion even though you 402 00:26:00,200 --> 00:26:04,640 Speaker 1: have a strong opinion. Yeah, I hope, And I try 403 00:26:04,680 --> 00:26:07,520 Speaker 1: to take a check on myself and have the team 404 00:26:07,600 --> 00:26:14,639 Speaker 1: tell me. I hope that they feel that security to 405 00:26:16,119 --> 00:26:20,160 Speaker 1: even outside of signing, always raise concerns or bring up 406 00:26:20,160 --> 00:26:24,359 Speaker 1: ideas and speak truth to power, because you look at 407 00:26:24,400 --> 00:26:30,640 Speaker 1: any you look at any organization, any empire that is fallen. 408 00:26:30,760 --> 00:26:35,320 Speaker 1: Usually it's because those at the tops surround themselves with 409 00:26:35,440 --> 00:26:41,520 Speaker 1: yes men, and those organizations who have longevity have a 410 00:26:41,640 --> 00:26:46,639 Speaker 1: very strong ethos and a very strong set of values 411 00:26:46,680 --> 00:26:54,359 Speaker 1: and organizing principle. But they encourage really robust conversation and 412 00:26:54,560 --> 00:26:58,080 Speaker 1: dialogue and it makes everybody better and you get to 413 00:26:58,119 --> 00:27:01,960 Speaker 1: different decisions that way, even if it is going back 414 00:27:02,000 --> 00:27:09,040 Speaker 1: to the original hypothesis or original intention, everything else has 415 00:27:09,040 --> 00:27:13,920 Speaker 1: been flushed out. Everybody's had a voice, and that happens, 416 00:27:14,000 --> 00:27:18,320 Speaker 1: you know quite a lot. So I was on a 417 00:27:18,359 --> 00:27:25,760 Speaker 1: call earlier BBR after Capital this I can once this 418 00:27:25,800 --> 00:27:29,920 Speaker 1: podcast comes out, it will be public information. But Capital 419 00:27:29,960 --> 00:27:33,440 Speaker 1: Records over the last thirteen years has been the number 420 00:27:33,440 --> 00:27:41,480 Speaker 1: one airplay label in Nashville, and this year BBR was 421 00:27:41,520 --> 00:27:45,480 Speaker 1: able to ring that bell. So it was it was 422 00:27:45,520 --> 00:27:49,959 Speaker 1: a massive moment for us because that Universal team, I mean, 423 00:27:50,000 --> 00:27:53,400 Speaker 1: they are you know, those are our brothers and sisters. 424 00:27:53,480 --> 00:27:56,879 Speaker 1: They win and they do it with class, and I 425 00:27:56,920 --> 00:28:00,320 Speaker 1: mean we love them, so to be able to ring 426 00:28:00,359 --> 00:28:02,840 Speaker 1: the bell after they've done it for thirteen years meant 427 00:28:02,880 --> 00:28:06,399 Speaker 1: so much to us and and Country Archek was asking 428 00:28:06,480 --> 00:28:09,680 Speaker 1: us about it and about the team dynamics, and I said, 429 00:28:09,720 --> 00:28:13,399 Speaker 1: it's beautiful. It is like a family that they all fight, 430 00:28:14,040 --> 00:28:17,640 Speaker 1: they all get mad at each other, they all have 431 00:28:17,800 --> 00:28:22,000 Speaker 1: vigorous conversations and challenge each other, but then they're also 432 00:28:22,040 --> 00:28:25,240 Speaker 1: there to wrap their arms around each other, to support 433 00:28:25,320 --> 00:28:28,200 Speaker 1: each other, to lift each other up. And I think 434 00:28:28,359 --> 00:28:33,040 Speaker 1: that dynamic where everybody's in it together and you know, 435 00:28:33,119 --> 00:28:34,919 Speaker 1: we can mix it up inside, but once we go 436 00:28:34,960 --> 00:28:39,960 Speaker 1: outside these walls, it is a united front. I think 437 00:28:40,200 --> 00:28:44,320 Speaker 1: that is one of our core strengths and one of 438 00:28:44,360 --> 00:28:47,040 Speaker 1: the you know another thing that I'm so proud of. 439 00:28:47,280 --> 00:28:50,520 Speaker 1: I've always I've always said to you know, there are 440 00:28:50,640 --> 00:28:53,400 Speaker 1: absolutely two things that will get you fired. Number one lying, 441 00:28:54,440 --> 00:28:58,160 Speaker 1: Number two, not having each other's back. It's enough of 442 00:28:58,200 --> 00:29:02,800 Speaker 1: a fight outside our walls. You know, we can fight inside, 443 00:29:02,800 --> 00:29:05,080 Speaker 1: but when we go out there. The minute I hear 444 00:29:05,800 --> 00:29:10,160 Speaker 1: anybody saying one thing negative about a member of this team, 445 00:29:10,760 --> 00:29:12,840 Speaker 1: they're done. I don't have many rules, but that's one 446 00:29:12,880 --> 00:29:17,600 Speaker 1: of them. Congratulations on that, My god, that's amazing. Thank you, 447 00:29:17,800 --> 00:29:21,600 Speaker 1: amazing news. Thank you. So it's obvious your your family 448 00:29:21,680 --> 00:29:29,520 Speaker 1: members have had a great impact on your leadership. Outside 449 00:29:29,560 --> 00:29:32,960 Speaker 1: of your family, who have been influential folks on the 450 00:29:33,040 --> 00:29:40,400 Speaker 1: leadership side for you. Yeah, from the from the very beginning. 451 00:29:40,480 --> 00:29:44,040 Speaker 1: Rick Baumgartner, who is at Warner Brothers, he gave me 452 00:29:44,040 --> 00:29:47,120 Speaker 1: my first two jobs in the industry. He was the 453 00:29:47,280 --> 00:29:51,800 Speaker 1: VP of Promotion for Warner Brothers, and his mother in 454 00:29:51,880 --> 00:29:55,160 Speaker 1: law was a family friend. And he said, he goes, 455 00:29:55,720 --> 00:29:57,280 Speaker 1: there was no way I was going to hire you, 456 00:29:57,320 --> 00:29:59,800 Speaker 1: but my mother in law would have warned me out 457 00:30:00,120 --> 00:30:02,520 Speaker 1: for you know, six months if I didn't give you 458 00:30:02,560 --> 00:30:06,760 Speaker 1: the shot. And so gave me, you know, gave me 459 00:30:06,800 --> 00:30:11,800 Speaker 1: the interview, and I got a coordinator job at Warner Brothers, 460 00:30:11,800 --> 00:30:14,520 Speaker 1: and then he hired me at Atlantic as a Southeast 461 00:30:15,000 --> 00:30:18,600 Speaker 1: regional and so he had he was he had a 462 00:30:18,600 --> 00:30:23,560 Speaker 1: big effect on me. It's not like we have a 463 00:30:23,680 --> 00:30:28,800 Speaker 1: lot of in depth conversations regularly, but whenever I speak 464 00:30:28,840 --> 00:30:33,800 Speaker 1: to Mike Dungan, I always there's always a nugget of 465 00:30:34,400 --> 00:30:38,840 Speaker 1: really important truth with him. And I've studied him. I 466 00:30:38,920 --> 00:30:43,160 Speaker 1: just watched him, watched how his teams interact and how 467 00:30:43,200 --> 00:30:47,760 Speaker 1: he's has that has built that same family atmosphere I went. 468 00:30:47,880 --> 00:30:53,000 Speaker 1: I left BBR for three years because to start valoring 469 00:30:53,120 --> 00:30:58,320 Speaker 1: music with Scott Mooreschetta and Taylor was breaking at the 470 00:30:58,320 --> 00:31:01,120 Speaker 1: time alongside Jason, so we were you know, there were 471 00:31:01,160 --> 00:31:03,720 Speaker 1: no independent label success stories, and then there were two 472 00:31:03,760 --> 00:31:06,600 Speaker 1: at once. So I had told the owner, I'm gonna 473 00:31:06,640 --> 00:31:08,640 Speaker 1: leave for three years and go over there and figure 474 00:31:08,680 --> 00:31:14,160 Speaker 1: out what he knows. And you know, and at the 475 00:31:14,200 --> 00:31:16,600 Speaker 1: time he was considered the best. I wanted to run 476 00:31:17,400 --> 00:31:19,800 Speaker 1: with the best and prove to myself that I could. 477 00:31:20,200 --> 00:31:23,600 Speaker 1: And there's no doubt that he sharpened my sword when 478 00:31:23,640 --> 00:31:27,160 Speaker 1: I came. When I left there and came back to BBR. 479 00:31:27,800 --> 00:31:30,800 Speaker 1: There's something about the number thirteen. Brad Paisley had had 480 00:31:30,840 --> 00:31:34,480 Speaker 1: thirteen number ones and it was CRS week and Jason 481 00:31:34,520 --> 00:31:37,760 Speaker 1: al Dean was going for I think his second or 482 00:31:37,760 --> 00:31:41,680 Speaker 1: third number one at the time, and or maybe fourth. 483 00:31:41,880 --> 00:31:47,640 Speaker 1: And Skip Bishop was a legendary VP of promotion. They 484 00:31:47,720 --> 00:31:50,720 Speaker 1: had things set up every single night at CRS. They 485 00:31:50,760 --> 00:31:54,840 Speaker 1: had people out it's Brad's house, I believe in Skip's house, 486 00:31:54,880 --> 00:31:57,400 Speaker 1: they had you know, the boat. I mean, they had 487 00:31:57,480 --> 00:32:00,680 Speaker 1: everything stacked in their favor. And before I had worked 488 00:32:00,680 --> 00:32:03,880 Speaker 1: with Scott Boorschetta, I don't like to think I would 489 00:32:03,880 --> 00:32:07,160 Speaker 1: have rolled over, but I would have potentially made an 490 00:32:07,200 --> 00:32:11,920 Speaker 1: excuse to myself on why maybe we wouldn't kid it. 491 00:32:12,600 --> 00:32:15,880 Speaker 1: But leaving that building, I said to our staff, I said, 492 00:32:15,920 --> 00:32:19,160 Speaker 1: here's the thing, guys, that streak of thirteen comes to 493 00:32:19,200 --> 00:32:21,280 Speaker 1: an end. Now every time they punch us in the 494 00:32:21,360 --> 00:32:24,000 Speaker 1: mouth this week, we're going to punch right back. And 495 00:32:24,080 --> 00:32:27,720 Speaker 1: I usually don't speak that violently or forcefully, but it was. 496 00:32:28,320 --> 00:32:33,680 Speaker 1: It was Scott's intensity and Scott's never say die that 497 00:32:33,760 --> 00:32:38,520 Speaker 1: I think I saw up close, And did you know, 498 00:32:38,600 --> 00:32:44,040 Speaker 1: I'm a very emotional guy, and I'm a very you know, 499 00:32:44,080 --> 00:32:47,400 Speaker 1: in some senses, I think I was soft and Scott 500 00:32:47,560 --> 00:32:49,960 Speaker 1: toughened me up, you know, So give him credit for 501 00:32:49,960 --> 00:32:54,520 Speaker 1: that Joe Galante, you know, a legendary record executive, has 502 00:32:54,680 --> 00:33:03,000 Speaker 1: been so instructive for me since the BMG acquisition because he, 503 00:33:03,240 --> 00:33:07,240 Speaker 1: you know, he knew the German culture well, he knew 504 00:33:07,320 --> 00:33:14,080 Speaker 1: the BMG systems well, and you know, he for you know, 505 00:33:14,440 --> 00:33:18,040 Speaker 1: most of his reign was was was considered the absolute 506 00:33:18,080 --> 00:33:21,480 Speaker 1: best and so and he's always been so gracious with 507 00:33:21,520 --> 00:33:27,640 Speaker 1: his time. He's been a very trusted advisor. So and 508 00:33:27,680 --> 00:33:33,120 Speaker 1: then beyond that, pastors and and friends. Joe Jamie Harr, 509 00:33:34,000 --> 00:33:41,720 Speaker 1: who is our e VP, has always you know, we 510 00:33:41,760 --> 00:33:47,520 Speaker 1: really create accountability for each other and our really strong 511 00:33:48,280 --> 00:33:51,440 Speaker 1: sounding boards for each other and where we always know 512 00:33:51,520 --> 00:33:54,480 Speaker 1: we can get the real, real, the truth, the unvarnished 513 00:33:54,520 --> 00:34:00,240 Speaker 1: truth from each other. Jim Ed Norman I will I'll 514 00:34:00,240 --> 00:34:02,840 Speaker 1: never forget again. He was when I got to Warner Brothers, 515 00:34:02,880 --> 00:34:06,000 Speaker 1: where I started my career. They had seven platinum acts 516 00:34:06,200 --> 00:34:09,640 Speaker 1: in one year, and so he was incredibly busy. I've 517 00:34:09,920 --> 00:34:12,440 Speaker 1: I had more interaction to him with him after Warner 518 00:34:12,480 --> 00:34:19,040 Speaker 1: Brothers than when I was there, But I will never forget. 519 00:34:18,560 --> 00:34:21,239 Speaker 1: I was there about six months and I got my 520 00:34:21,320 --> 00:34:25,200 Speaker 1: elevator with Jim Ed and his general manager Eddie Reeves 521 00:34:26,000 --> 00:34:28,120 Speaker 1: and I was talking about all these great things over 522 00:34:28,160 --> 00:34:30,719 Speaker 1: the first six months that had happened with bath Hill 523 00:34:30,800 --> 00:34:33,560 Speaker 1: and Travis Tritton to white Yolk'm and Jess fox Worthy. 524 00:34:34,400 --> 00:34:37,760 Speaker 1: And as we're going up to this the second floor, 525 00:34:37,800 --> 00:34:40,960 Speaker 1: the general manager said, that's why we hire young kids 526 00:34:41,000 --> 00:34:42,520 Speaker 1: like you, And I said, what do you mean. He said, 527 00:34:42,520 --> 00:34:46,080 Speaker 1: to remind us how great this business is. And I said, 528 00:34:46,080 --> 00:34:47,880 Speaker 1: you've got to be reminded how great it is. And 529 00:34:47,880 --> 00:34:50,359 Speaker 1: he goes, give it ten years, kid, you'll understand what 530 00:34:50,400 --> 00:34:53,480 Speaker 1: I mean. Eddie got off on the second floor and 531 00:34:53,600 --> 00:34:55,239 Speaker 1: Jim ed and I went up to the third floor 532 00:34:55,280 --> 00:34:58,240 Speaker 1: and he looked at me. He said, don't listen to him. 533 00:34:58,880 --> 00:35:01,600 Speaker 1: He goes, he doesn't knowbody's talking about. If you love music, 534 00:35:02,040 --> 00:35:07,320 Speaker 1: if you love people, and you love creating moments, memory moments, 535 00:35:07,800 --> 00:35:10,000 Speaker 1: you'll love this business for the rest of your life. 536 00:35:10,440 --> 00:35:13,880 Speaker 1: And I swear to you, every single time I leave 537 00:35:14,160 --> 00:35:17,080 Speaker 1: my house every morning, when I head to music Row 538 00:35:17,239 --> 00:35:19,360 Speaker 1: or head to the airport to get on a plane, 539 00:35:19,880 --> 00:35:22,160 Speaker 1: I think of Jim Eds saying that because I love 540 00:35:22,239 --> 00:35:26,000 Speaker 1: this business now more than I ever have, and every 541 00:35:26,120 --> 00:35:31,320 Speaker 1: day it just keeps increasing. I am so damn blested. 542 00:35:31,320 --> 00:35:34,439 Speaker 1: I can't believe that I get paid to do this, 543 00:35:34,960 --> 00:35:40,120 Speaker 1: to give, to go, fight for others art, and in 544 00:35:40,160 --> 00:35:43,359 Speaker 1: the process create moments for an audience that they will 545 00:35:43,440 --> 00:35:46,600 Speaker 1: remember for the rest of their lives. Thank you for 546 00:35:46,640 --> 00:35:51,400 Speaker 1: creating a memory moment here. Thank you for the amazing music, 547 00:35:51,760 --> 00:35:55,720 Speaker 1: your leadership, and your generosity being on taking a walk, 548 00:35:55,960 --> 00:35:58,240 Speaker 1: Thank you so much. Thank you for having me enjoyed 549 00:35:58,239 --> 00:36:01,880 Speaker 1: it very much. Thank you. Taking a Walk with Buzznight 550 00:36:02,239 --> 00:36:07,239 Speaker 1: is available on Spotify, Apple Podcasts, or wherever you get 551 00:36:07,280 --> 00:36:08,120 Speaker 1: your podcasts.