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Speaker 1: Welcome to episode to We'll do c M A Award

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Speaker 1: Facts you didn't know remembering Jerry Jeff Walker, Tom Lord

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Speaker 1: on what goes into artists management? Maybe something you heard

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Speaker 1: about but you didn't know much about. Jamie Lynn Spears

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Speaker 1: is on this but it's all about music. Let's start

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Speaker 1: with new music this week. Here are the five that

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Speaker 1: I'm like, oh, this is pretty cool. First up, Bush

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Speaker 1: released a new album. You would know them from their

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Speaker 1: old song. Here's one of them, Glycerine. If you're new

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Speaker 1: at the guitar, you probably learned this because it's the

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Speaker 1: four chords over and over and over that are very

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Speaker 1: easy to do. But they put out the Kingdom Deluxe

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Speaker 1: Edition with this song Heroes, which is a tribute to

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Speaker 1: David Bowie. It's a David Bowie song. Here you go,

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Speaker 1: we can be Heroes. Just what number four? I'm putting

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Speaker 1: little Christmas music here. Brett Eldredge and Kelly Clarkson released

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Speaker 1: a new Christmas duet called Under the Missile Too. Thing

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Speaker 1: I've tried to keep you from gettings who works since

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Speaker 1: I'll let's see your face. Speaking of Christmas, Hoodie and

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Speaker 1: the Blowfish and special guests, Abigail Hodges have released a

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Speaker 1: new holiday theme track called Won't Be Home for Christmas

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Speaker 1: at number three. We will talk on the phone, but

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Speaker 1: you won't be home for Christmas. That's cool. We have

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Speaker 1: got on our side, but we want to be home

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Speaker 1: for Christmas. Man, maybe I should made that number one.

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Speaker 1: That's good. Cam has a new album called Other Side.

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Speaker 1: Here's the song you may have heard that it's already

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Speaker 1: from it, called Classic I Want. And here's a brand

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Speaker 1: new song called like a Movie from Cam's new album

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Speaker 1: that's out today right still and a number one. I

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Speaker 1: gotta put our guest today. Jamie Lynn Spears she released

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Speaker 1: Following Me. It's a reimagined version of the Zoe one

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Speaker 1: on one theme song, and we'll talk to her coming up.

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Speaker 1: Here's the clip of that. Now. I'm not gonna listen

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Speaker 1: to this myself, but I love Jamie Lynd Spears. Her

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Speaker 1: and I've been friends for a long time. She's back

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Speaker 1: with Zoe one on one and uh she's on the podcast.

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Speaker 1: So I don't wanted to hear this back and not

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Speaker 1: have her at number one, you know. Kip More also

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Speaker 1: as an honorable mention, released announce he's releasing Wild World

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Speaker 1: Deluxe in February, which featured his song She's Mine. It's

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Speaker 1: got four new songs, including one that's out now. It's

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Speaker 1: called Don't Go Changing. As far as albums go, whind

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Speaker 1: On A Judd put out her recollection ZP five new songs.

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Speaker 1: Ariana Grande has a new album called Positions. Elvis Costello

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Speaker 1: has a new album Google Dolls. It's Christmas all over.

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Speaker 1: The Google Dolls are back at nineties Christmas, and that

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Speaker 1: would be like early two thousands Christmas. I guess like

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Speaker 1: it's a two thousand one Christmas with the Google Dolls.

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Speaker 1: Tory Kelly has a Christmas album. Joni Mitchell has Archives

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Speaker 1: Volume one, nineteen sixty seven. There's a Stevie Nicks live

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Speaker 1: in concert out today. Sam Smith, Megan Trainer has a

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Speaker 1: Very Megan Trainer Christmas, a Very Trainer Christmas. So a

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Speaker 1: lot of Christmas stuff coming out now, as far as

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Speaker 1: news goes. Billy Joe Shaver, pioneer of Outlaw Country, dead

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Speaker 1: at eighty one. I was a big Billy Joe Shaver fan.

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Speaker 1: Uh My, I Love Live Forever is one of my

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Speaker 1: top just I Love Live Forever. It's like a top

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Speaker 1: twenty five song for me. Billy Joe Shaper died of

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Speaker 1: a stroke at Waco, Texas Ascension Providence Hospital. If you

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Speaker 1: loved Texas Country, you love Billy Joe Shaver. He rose

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Speaker 1: to further prominence after Chris Kristofferson recorded this song Good

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Speaker 1: Christian Soldier. He wrote stuff you Know, Lift Forever, Highwayman,

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Speaker 1: other numbers, Elvis, David Allanco, Patty Loveless, Doug Kershaw, Johnny Paycheck,

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Speaker 1: just so many people he wrote for. But yeah, that's sad.

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Speaker 1: Jerry Jeff Walker and Billy Joe Shaver. We'll talk about

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Speaker 1: Jerry Jeff Walker later on Huh. Whitney Houston's I Will

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Speaker 1: Always Love You hit one billion views on YouTube. With

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Speaker 1: a B a billion, there will be an Eddie van

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Speaker 1: Halen tribute during the Rock and Roll Hall of Fame

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Speaker 1: Induction special. The number one song in the country this

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Speaker 1: week is Mood by k Golden, But try to play cool.

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Speaker 1: I just know it from TikTok. I was listening to

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Speaker 1: the position of the day and like four songs in

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Speaker 1: a row. Kaylm was with me. She was like, I

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Speaker 1: can tell when you've been on TikTok because you know

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Speaker 1: all the songs. Otherwise I want to know any of them.

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Speaker 1: And then a C d C used fireworks to find

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Speaker 1: a lot of monster. Do you know about this mine?

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Speaker 1: I do, tell me about it. I think they were

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Speaker 1: all drunk on tour and they're a let's try to

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Speaker 1: get the lot monster out, so they fired out a

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Speaker 1: bunch of fireworks. I would expect nothing less. All Right,

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Speaker 1: there you go. I hope you enjoyed this one. That's

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Speaker 1: your new music. Thank you, guys. Bobby and Eddie's music

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Speaker 1: school is now in session. Up in the morning and

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Speaker 1: out Edy, how are you? I'm great, bones, how are

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Speaker 1: you pretty good? We're gonna talk about with me. My

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Speaker 1: first one is the c m A Award. Fact you

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Speaker 1: may not know because here we go. It's coming up.

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Speaker 1: So let's see here. It's uh what from the recording

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Speaker 1: of what we're doing, we're two weeks out by the

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Speaker 1: time people will hear this, it would be about a

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Speaker 1: week and a half out right, Mike from the c

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Speaker 1: m A Awards um Entertainer of the Year. It's the

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Speaker 1: big one, the history of the first CMA Entertainer of

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Speaker 1: the Year. Since we'll talk about it with Tom Lord

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Speaker 1: coming up in a second. The very first CMA awards

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Speaker 1: took place in nineteen sixty seven, which means this year

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Speaker 1: the Country Music Association will crown it's fifty four Entertainer

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Speaker 1: of the Year. But which artist do you think was

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Speaker 1: first to take home this prestigious award? Hank Williams, It's

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Speaker 1: a good guess. The honor belongs to Eddie Arnold, a

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Speaker 1: pioneer of the Nashville sound. Nicknamed the Tennessee Plowboy, Arnold

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Speaker 1: had a hundred forty five songs make the country charts

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Speaker 1: during his sixty year career. Eight went number one. That

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Speaker 1: feet puts some second to only Who do you think

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Speaker 1: for most songs on the chart? Country Country? Johnny Cash?

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Speaker 1: Again solid guess, but no, you're George Jones. He was

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Speaker 1: inducted into the Country Music Hall of Fame in nineteen

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Speaker 1: sixty six and died in two thousand eight. Some of

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Speaker 1: his number one's include from Eddie Arnold this is It's

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Speaker 1: a sin, It's a sin mind How I love you?

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Speaker 1: Because I now can never be. Here's another one called

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Speaker 1: cattle call Whispers are cowboys singing this long some cattle come?

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Speaker 1: And one final one, make the world go away, Make awesome.

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Speaker 1: That's the only one I know of those three me too,

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Speaker 1: and I like to think of pretty smart when it

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Speaker 1: comes to history about if I'm just being honest, I

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Speaker 1: didn't know the first two, but I remember Eddie Arnold

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Speaker 1: with the first kind of sound that you play the

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Speaker 1: first song with more, a little more country swing. That's

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Speaker 1: how I remember Eddie Arnold. But I do remember this song.

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Speaker 1: Do you can you picture Eddi Arnold in your head? Yes?

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Speaker 1: We have a lot of glitter what he looks like? Yeah,

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Speaker 1: but big, big tall gallon what do they call it?

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Speaker 1: Ten gallon cowboy hat and a lot of glitter or

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Speaker 1: rhyin stones on a suit. Is that accurate the Eddie

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Speaker 1: Arnold Lassie. Yeah, Old Eddie Arnold I think had a

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Speaker 1: big hat. Yes. Let's talk about the origin of the trophy.

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Speaker 1: The current CMA Awards trophy supposed to be be designed like

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Speaker 1: the like a chart bullet, and is made from a

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Speaker 1: crystal imported from Florence, Italy, because it's kind of like this, yes,

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Speaker 1: ovally sharp. It's glass originally made from walnut. A shortage

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Speaker 1: of the wood supply letter the crystal design than how

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Speaker 1: many woods, so they just made it nicer. Crazy. It's

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Speaker 1: been in Nashville every year since two thousand five, it

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Speaker 1: was only at Madison Square Garden in New York City

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Speaker 1: one time. The awards are in November eleventh, will airline

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Speaker 1: from Nashville and ABC. Due to the coronavirus, the show

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Speaker 1: will be hosted at Nashville's Music City Center, not bridged

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Speaker 1: to arena, which is customary. There will be no live audience.

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Speaker 1: There will be some people there. Though I'm a part

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Speaker 1: of the show, I can't announce it yet. I got

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Speaker 1: hoped it hosted. It didn't get that job this year.

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Speaker 1: I felt like I was in the running there last second.

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Speaker 1: But there will be people in the audience, but it

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Speaker 1: won't be a normal crow. I think it's just going

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Speaker 1: to be people that may be up for awards and

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Speaker 1: people that are a part of the show. I chose

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Speaker 1: not to. I'm not gonna sit in the crowd. I'm

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Speaker 1: gonna go and walk to a backdoor, not be around anyone,

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Speaker 1: and just get out, like the a c M. Stay safe.

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Speaker 1: The first female CMA Entertainer of the Year, who do

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Speaker 1: you think that was? It's tough. I'm asking you crazy,

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Speaker 1: but the Lauretta Lynn correct, yes, got one, you got it. Yeah,

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Speaker 1: here's a hook of coal miner's daughter from Lauretta Lynn.

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Speaker 1: Here you go. Only six other female performers have won

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Speaker 1: the award. Can you name any of them? Mm hmmm, Dolly,

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Speaker 1: we'll only have Dixie Chicks and Taylor Swift. I thought

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Speaker 1: they would all be listed here. I mean, I'm maybe

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Speaker 1: dollars in there. I don't know. Garth Brooks and Kenny

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Speaker 1: Chesney have the Most Entertainer of the Year awards, of course.

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Speaker 1: All right. Finally, Eric Church, Luke Combs, Miranda Lambert carry

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Speaker 1: under one of Keith Urban wrote this year. Now, I

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Speaker 1: remember reading a while back that, you know, because some

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Speaker 1: article that was differentiating the a c m S and

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Speaker 1: the c m as. Is it accurate to say that

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Speaker 1: c m as were Was the Nashville Award Show completely accurate?

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Speaker 1: Because the a CMS for California West Coast Country, right, yeah,

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Speaker 1: and that's why the show is always in Los Angeles.

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Speaker 1: It was in Nashville this year because of coronavirus and

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Speaker 1: all the artists weren't going to travel. But yes, that

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Speaker 1: was California West Coast Country and now Vegas is where

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Speaker 1: they haven't. Yeah, yeah, West Coast, yes, crazy, I didn't

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Speaker 1: I didn't realize that in Los Angeles a few times,

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Speaker 1: and I think it started in Los Angeles. Pretty cool.

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Speaker 1: That is my version of music school. Eddie over to you.

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Speaker 1: All right, So we're remembering Jerry Jeff Walker at age

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Speaker 1: seventy eight, he lost his battle to throat cancer and

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Speaker 1: um man, he he just really was, uh, the soundtrack

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Speaker 1: of my high school years, my college years. And I

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Speaker 1: love Jerry Jeff. And one of the cool things is

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Speaker 1: just kind of going through Instagram and seen the artists

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Speaker 1: that posted, you know, about his death, and Jimmy Buffett

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Speaker 1: was one of the ones that kind of stuck out

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Speaker 1: to me because if it wasn't for Jerry Jeff, cool

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Speaker 1: little factoid, Uh, Jerry Jeff, it wasn't for Jerry Jeff

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Speaker 1: taking him to Key West, Jimmy would have never really

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Speaker 1: found that beach sound he was looking for. It was

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Speaker 1: Jerry Jeff that drove him to q West for the

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Speaker 1: first time and uh, and he Jimmy ended up loving

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Speaker 1: it and staying there and writing songs there, which became

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Speaker 1: kind of the the background of his beach sound, if

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Speaker 1: you want to call it that. But but that's pretty cool.

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Speaker 1: And also to just kind of growing up in Texas,

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Speaker 1: my whole life. Jerry Jeff was the godfather of Texas country,

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Speaker 1: you know, and it's cool to kind of know where

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Speaker 1: he came from because these artists you know him as

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Speaker 1: the sound like I just said Jimmy Buffett, right. But

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Speaker 1: but Jerry Jeff started in New York. He's he's a

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Speaker 1: New Yorker and he started there in the nineties, sixties

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Speaker 1: and the Greenwich Village sound, so with Dylan, Dave Van Ronk,

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Speaker 1: you know, those folk singers, that's what Jerry wanted to

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Speaker 1: be changed his name, changed his name completely. That's where

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Speaker 1: he changed his name. So coming to Texas, he's like, no, no, no,

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Speaker 1: this is who I am, this is how this is

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Speaker 1: where I feel very comfortable and started that Texas country sound,

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Speaker 1: which is pretty cool, man. And I think we all

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Speaker 1: know him from Mr boj Angles. I think a lot

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Speaker 1: of people, though I don't know that he wrote that,

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Speaker 1: because the Bob Dylan version to me was the one

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Speaker 1: that most people know. Do you remember the nitty gritty version,

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Speaker 1: nitty gritty dirt, man, I don't. I feel like I

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Speaker 1: was again. I know it, but I don't remember it

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Speaker 1: like I know it now, But I didn't know it

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Speaker 1: from back in the day. Yeah, that's that's kind of

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Speaker 1: where I come from. Two was like I do remember

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Speaker 1: hearing that. I don't remember who I knew it from,

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Speaker 1: but bo ch Angles to Me was a very famous song,

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Speaker 1: but I never knew who did it. It always sounded

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Speaker 1: like it was something a Bob Dylan did, so I

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Speaker 1: do remember him singing that. But once again high school,

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Speaker 1: when I got the CD of Jerry Jeff singing Mr

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Speaker 1: bo Jngles and researching where did this come from? Uh, yeah,

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Speaker 1: it's Jerry jeff song. This is his song. Wrote it

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Speaker 1: back in New Orleans from you know, being I guess

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Speaker 1: he got arrested for public intoxication, got thrown in jail,

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Speaker 1: and New Orleans ended up meeting this guy who was

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Speaker 1: a homeless dude and his dog and his tongue, stories

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Speaker 1: of his dog and how he died and all this stuff,

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Speaker 1: but he would dance in the jail cell. So he

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Speaker 1: wrote Mr bro Jenkles because of that. Pretty cool other

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Speaker 1: clips we have Singria Wine. These are kind of my

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Speaker 1: my top three Jerry Jeff song sing Real Wine to Me,

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Speaker 1: sangree Wine, whoa sang Real, and I gott getting by also,

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Speaker 1: And I picked these songs because these are written by

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Speaker 1: Jerry Jeff Enough and not even know him personally, but

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Speaker 1: I felt by listening to Getting By that this is

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Speaker 1: kind of how he lived his life, just one day

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Speaker 1: at a time, Getting By living my life easy come,

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Speaker 1: easy go, And that to me really hit me, you

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Speaker 1: know when I was listening to it the weekend that

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Speaker 1: he died. But Getting By, man, this is this takes

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Speaker 1: me back. No I could see to win. Was this

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Speaker 1: before your high school? Not just listen to hanging out

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Speaker 1: with my buddies. We would just have parties and just

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Speaker 1: Blair Jerry Jeff Walker. I don't even know when this

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Speaker 1: record is an older song, this is this is seventies.

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Speaker 1: But I thought when I said that, I was like,

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Speaker 1: you know what, I could be wrong. And Luke and

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Speaker 1: Boch two is you know that was this is where

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Speaker 1: he recorded a lot of these songs. Um, not really

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Speaker 1: with a crowd, but just to go to Luke and

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Speaker 1: Boch take the tour bus and just go record an album.

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Speaker 1: They're pretty cool there you go, Larry jeff Man, rest

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Speaker 1: in peace. But like you always say, it's so cool

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Speaker 1: that we're gonna have his music for the rest of

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Speaker 1: our lives. And then lives to come for sure, and

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Speaker 1: that is Bobby and Eddie's music school. Class goodness, that

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Speaker 1: was Bobby and Eddie's music school. I wanted to bring

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Speaker 1: someone in and talking about management because it's not really

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Speaker 1: something we've talked about a lot on the show other

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Speaker 1: than me going I gotta pay him. I mean, that's

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Speaker 1: mostly it's mostly me griping about but in a loving

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Speaker 1: way because I know I make more than off thecent

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Speaker 1: I pay. So I wanted to bring in Tom Lord

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Speaker 1: of Red Light Management. What is your overarching title there, Well,

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Speaker 1: we don't have official titles, but I'll tell you my role,

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Speaker 1: which is basically describing a title. UM. I was brought

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Speaker 1: in from Universal Music Group. I was a record label guy.

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Speaker 1: Came into management about seven years ago to help build

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Speaker 1: the marketing department. So I was head of marketing for

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Speaker 1: our Nashville office. And then that sort of has evolved

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Speaker 1: and there are a handful of us that run the

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Speaker 1: office and help Corin, who that's a name will probably

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Speaker 1: say in this podcast a couple of times help corn

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Speaker 1: who is the head of the company, run the Nashville office.

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Speaker 1: And that's some of the basic logistical things of UM.

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Speaker 1: The office, office, maintenance, it's hirings and firings if necessary,

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Speaker 1: and just kind of general maintenance of the the management

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Speaker 1: team in Nashville, and then um management it rolls as well.

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Speaker 1: So I have a couple of artists that I sort

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Speaker 1: of have under my supervision from a manager role. In

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Speaker 1: full transparency, I am one of them. So is the

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Speaker 1: Raging Idiots, which is one and the same, except not

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Speaker 1: Gabby Barrett. You work with Gabby. I mean I worked

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Speaker 1: with Gabby four years ago on IDOL. I remember those

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Speaker 1: conversations like, Okay, Gabby's a couple, let's get her and

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Speaker 1: the early early ones and then watch and you were

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Speaker 1: so instrumental in her even landing a record deal. Ye.

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Speaker 1: So before we get to that specifically, like why in

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Speaker 1: the world would someone need a manager, because most folks

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Speaker 1: don't even know if someone gets gives a speech, and like,

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Speaker 1: well I think our manager, we all just roll our

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Speaker 1: eyes because don't know what that means. Well, that's what

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Speaker 1: I was gonna say this this podcast. Maybe you were

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Speaker 1: least consumed podcast, because I'm not sure people really know

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Speaker 1: what management is or have any interest, But I do

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Speaker 1: think it's important. It's definitely a big part of this industry.

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Speaker 1: The biggest for me. It's massive for what I do.

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Speaker 1: And it's not something I talked about because I'm not

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Speaker 1: embarrassed of it or I don't think people aren't interested.

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Speaker 1: But it's just so in the we us. But that's

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Speaker 1: what this podcast is. Yes, So why the world? What's

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Speaker 1: some money to manage? Uh? For the best way to

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Speaker 1: describe it is to put it as an analogy for

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Speaker 1: running a business. You know, the artist is the chairman

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Speaker 1: of a business. That's your business. You know, in your case,

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Speaker 1: you have a business that you need to run and

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Speaker 1: that includes for you specifically, it's touring, it's merchandise, it's

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Speaker 1: philanthropic efforts, it's personal appearances, it's publishing, book deals, it's

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Speaker 1: um you know, radio, everything you know and so you know,

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Speaker 1: with your need to be creatively involved on all those

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Speaker 1: in all of those facets of your business, UM, you

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Speaker 1: need somebody to help run your business. Late so you're

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Speaker 1: the chairman and where your president of the company. So

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Speaker 1: we help run the PR departments, and finance department, and

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Speaker 1: merchandise department, the philanthropic department, UM, merchandise that the whole

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Speaker 1: Bala Act. So we just our job is to make

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Speaker 1: sure all of the pieces of the business are connected

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Speaker 1: and that are working and help execute your goals. That's

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Speaker 1: what a manager does. UM. And you know we're in

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Speaker 1: the weeds with everything, you know when we try to

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Speaker 1: keep the artist out of the weeds, but all of

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Speaker 1: it is with their direction and we come at you know,

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Speaker 1: in the case with you, if there's anything that comes up,

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Speaker 1: we don't sign off on unless we know that's something

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Speaker 1: that you would sign off on, or we we we

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Speaker 1: come to you and ask specifically for your yes or

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Speaker 1: no on certain things. So that that's really the role

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Speaker 1: of the manager. If that answers that right? With Gabby,

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Speaker 1: what do you deal with day to day with She's

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Speaker 1: got a number one song, but a pretty new artist

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Speaker 1: in country music, because I would imagine that's a lot

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Speaker 1: different than someone who has been around for a bit.

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Speaker 1: So what is it with you in the Gabby process

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Speaker 1: that you're dealing with right now? UM, I'll start with

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Speaker 1: when when I first started working with Gabby, what that

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Speaker 1: role was, and then kind of where it is today.

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Speaker 1: When I first started working with Gabby, you know, some

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Speaker 1: of it was just even pretty basic education about Nashville

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Speaker 1: and the in the music business, because that's the other

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Speaker 1: thing I think a manager is important for for an

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Speaker 1: artist is an artist generally walks into becoming an artist

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Speaker 1: or you know, sort of declares that they're going to

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Speaker 1: become an artist, but they don't know the facets of business.

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Speaker 1: They don't know the avenue, they don't have the roadmap

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Speaker 1: to be able to navigate a label conversation and a

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Speaker 1: publisher conversation and who's the right merchandise person or with

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Speaker 1: the booking agency, who are the right people that I

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Speaker 1: need to talk to. So that is what the experience

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Speaker 1: of a manager has and helps bring to the table

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Speaker 1: for an artist. And that was for the case with Gabby.

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Speaker 1: You're in the case with Gabby. Early on she came

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Speaker 1: out American Idol and that is an amazing platform, as

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Speaker 1: you know and are deeply involved with. It's amazing platform

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Speaker 1: to build an audience, but it doesn't necessarily guarantee you

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Speaker 1: the record deal and the publishing deal or merchandise deal

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Speaker 1: or get on a tour, etcetera, etcetera. And so when

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Speaker 1: Gabby first came off an idol as mature as she

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Speaker 1: was for her age, and she came off a idol

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Speaker 1: and she was nineteen years old. Um, you know, she

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Speaker 1: needed some education on how Nashville works, and so I

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Speaker 1: felt like the first part of my job with her

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Speaker 1: was is um sort of setting the tone for Hey,

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Speaker 1: here's the reality of the situation. You came off an

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Speaker 1: amazing TV show, gave you a great platform, but no

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Speaker 1: labels are jumping, you know, to to sign you. And

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Speaker 1: so now what we have to do is prove it

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Speaker 1: to them. And so it was helping set the i think,

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Speaker 1: the roadmap for building a reputation outside of Idol, building

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Speaker 1: a reputation as an artist in the town, starting to

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Speaker 1: be part of the community. So that was a big

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Speaker 1: part of it then. And then it was with her

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Speaker 1: and navigating with nineteen Entertainment, who is also part of

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Speaker 1: the American Idol family, who was a part of the mix,

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Speaker 1: but they're not necessarily part of the Nashville community. Um

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Speaker 1: that we navigated releasing her song I Hope without a

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Speaker 1: major label deal, and that was where you know, my

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Speaker 1: role as a marketer and also manager came into strong

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Speaker 1: play with her to help, you know, kind of work

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Speaker 1: with the DSPs, which are the digital partners. It's the

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Speaker 1: Spotify as the Apples, the Pandoras, and um Amazon's to

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Speaker 1: make sure that they knew this artist was coming, that

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Speaker 1: they knew who she was and what she was about,

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Speaker 1: finding a pr person, you know, sort of building the team.

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Speaker 1: I think that was a big part of it. Building

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Speaker 1: the team was another part of the early roles. And

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Speaker 1: then we get the major label deal and then it's

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Speaker 1: you know, then we released the single out to terrestrial

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Speaker 1: radio and it has done tremendously well. Um. So my role,

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Speaker 1: I would say, has evolved from when we first started

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Speaker 1: working together to today. And I think today, UM, the

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Speaker 1: role of my job with Gabby and we have a

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Speaker 1: lot of conversations about it is you know, she understands

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Speaker 1: that we've had an amazing first step, um, and we're

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Speaker 1: having a moment is sort of this is my cliche

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Speaker 1: thing that I say, and I'm saying in almost every

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Speaker 1: meeting we're in, is that you know, we're having a moment,

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Speaker 1: but we need to make a movement. And so that

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Speaker 1: is now, how do we navigate from the I hope

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Speaker 1: artist into an artist that has you know, repeated success

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Speaker 1: and um, And so we're trying to as you know,

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Speaker 1: as listen as we never want to you know, sort

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Speaker 1: of look a gift course horse in the mouth here.

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Speaker 1: But you know, with the success that we're having with

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Speaker 1: I Hope and continue to have, I'm trying to move

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Speaker 1: past in a lot of ways to say, hey, look

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Speaker 1: at this song and it's the Good Ones. That's our

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Speaker 1: next single, and so my my job now is trying

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Speaker 1: to change the spotlight a bit. You know, let's enjoy

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Speaker 1: the spotlight that we've got with with with I Hope,

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Speaker 1: but let's try to shift the spotlight to show the

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Speaker 1: success that we're having with the Good Ones, because we

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Speaker 1: know we need to move from this moment. There has

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Speaker 1: to be matation that's exactly right with an artist like

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Speaker 1: Chris Jansen, who I know you're involved with Chris and Kelly,

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Speaker 1: Kelly's manager's wife, and you're also involved in in Chris

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Speaker 1: because he's a red light as well. Obviously he's a

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Speaker 1: lot older, had been around a lot longer, um had

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Speaker 1: been in Nashville way before you got involved with Chris.

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Speaker 1: So how is that different situationally with Chris than with Gabby.

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Speaker 1: The approach is very different, you know, with Gabby it

425
00:22:43,840 --> 00:22:47,440
Speaker 1: is you're building a introduction. It's the first impression that

426
00:22:47,480 --> 00:22:49,840
Speaker 1: you're trying to build, and that has a strategy to it.

427
00:22:49,880 --> 00:22:51,639
Speaker 1: You know, you only have the one time to make

428
00:22:51,680 --> 00:22:53,520
Speaker 1: a first impression, as as they say, and you know,

429
00:22:53,600 --> 00:22:55,720
Speaker 1: and so for her, it's building the right first impressions.

430
00:22:55,720 --> 00:22:59,960
Speaker 1: For Chris, there's at least some history there that you're

431
00:23:00,040 --> 00:23:03,200
Speaker 1: able to jump into that as because Chris had previous

432
00:23:03,200 --> 00:23:05,719
Speaker 1: management and as you said, had different record deals and

433
00:23:06,080 --> 00:23:09,640
Speaker 1: when he came over to Red Light and so, UM,

434
00:23:09,680 --> 00:23:11,200
Speaker 1: what we're able to do in that case is sort

435
00:23:11,240 --> 00:23:12,600
Speaker 1: of look at the history and go, Okay, let's look

436
00:23:12,640 --> 00:23:15,240
Speaker 1: at what you have done. And now you've already made

437
00:23:15,240 --> 00:23:17,919
Speaker 1: an impression in the marketplace, and is there anything with

438
00:23:17,920 --> 00:23:19,639
Speaker 1: that impression that we need to change? Do we need

439
00:23:19,680 --> 00:23:21,359
Speaker 1: to evolve that, do we need to grow that? And

440
00:23:21,400 --> 00:23:24,400
Speaker 1: I think, um, And I think it's okay to say

441
00:23:24,400 --> 00:23:26,760
Speaker 1: this because it was. It was definitely my strategy with

442
00:23:26,880 --> 00:23:30,639
Speaker 1: first working with Chris, and that was um kind of

443
00:23:30,680 --> 00:23:35,240
Speaker 1: building again sort of repeatable success because I think there

444
00:23:35,400 --> 00:23:40,440
Speaker 1: was a impression with Chris that he was the surprise

445
00:23:40,520 --> 00:23:42,560
Speaker 1: hitmaker with buy Me a Boat. And the reason I

446
00:23:42,640 --> 00:23:44,520
Speaker 1: say surprise hitmaker with buy Me a Boat because he

447
00:23:44,560 --> 00:23:46,200
Speaker 1: had had a couple of record deals and at some

448
00:23:46,240 --> 00:23:49,080
Speaker 1: point in this industry, love it or hate it, sometimes

449
00:23:49,080 --> 00:23:51,280
Speaker 1: the industry turns you out. After you've had a couple

450
00:23:51,280 --> 00:23:54,960
Speaker 1: of record deals, you've sort of lost your opportunity. And

451
00:23:55,560 --> 00:23:59,960
Speaker 1: Chris released by Me about independently, this is even before

452
00:24:00,000 --> 00:24:02,280
Speaker 1: signing with Warner released Buy Me a Boat, and it

453
00:24:02,480 --> 00:24:06,199
Speaker 1: just with the help of Bobby Bones Show plug to

454
00:24:06,240 --> 00:24:08,680
Speaker 1: get that plug. With the help of Bobby Bones and

455
00:24:08,720 --> 00:24:11,280
Speaker 1: the Bobby Bones Show put him back on the map.

456
00:24:11,960 --> 00:24:14,000
Speaker 1: And so that became a surprise hit. And then all

457
00:24:14,000 --> 00:24:15,639
Speaker 1: of a sudden, the record labels are calling again, and

458
00:24:15,680 --> 00:24:18,399
Speaker 1: so and and he was having success, but it wasn't

459
00:24:18,400 --> 00:24:20,960
Speaker 1: He wasn't able to replicate necessarily the success of Buy

460
00:24:21,000 --> 00:24:22,760
Speaker 1: Me a Boat after that song had come out, And

461
00:24:22,800 --> 00:24:24,640
Speaker 1: so as I talked about with Gabby sort of trying

462
00:24:24,640 --> 00:24:27,480
Speaker 1: to find that repeatability, I think with Chris that was

463
00:24:27,520 --> 00:24:29,520
Speaker 1: the strategy when we first started working together. It's like, Hey,

464
00:24:29,520 --> 00:24:31,000
Speaker 1: we need to prove it, Chris. We know you've got

465
00:24:31,000 --> 00:24:32,720
Speaker 1: the talent. We can hear in the songs, we hear

466
00:24:32,720 --> 00:24:33,960
Speaker 1: it in the record. We know your town, we know

467
00:24:34,000 --> 00:24:36,080
Speaker 1: what you can do on stage, but now we need

468
00:24:36,080 --> 00:24:37,600
Speaker 1: the town to see you as more than Buy Me

469
00:24:37,640 --> 00:24:41,400
Speaker 1: a Boat. And I think there I would put um

470
00:24:41,560 --> 00:24:43,840
Speaker 1: Chris and and Gabby almost in the same category as

471
00:24:43,880 --> 00:24:47,000
Speaker 1: that they're that first major hit that they both had,

472
00:24:47,000 --> 00:24:49,760
Speaker 1: in Chris's case, buy Me a Boat, and in Gabby's case,

473
00:24:49,800 --> 00:24:53,080
Speaker 1: I hope they those songs will always follow them around. UM.

474
00:24:53,119 --> 00:24:54,840
Speaker 1: It is hard when you have a song that is

475
00:24:55,000 --> 00:24:58,560
Speaker 1: so big that is really the first big hit for

476
00:24:58,600 --> 00:25:01,560
Speaker 1: an artist, UM, you know, that will follow you around

477
00:25:01,560 --> 00:25:03,879
Speaker 1: for your whole career and you just the job is

478
00:25:03,920 --> 00:25:08,520
Speaker 1: never to try to um repeat that exact song success,

479
00:25:08,560 --> 00:25:11,159
Speaker 1: but you've got to then evolved from it. And I

480
00:25:11,160 --> 00:25:12,760
Speaker 1: think from Chris that was the case. It's like, we

481
00:25:12,840 --> 00:25:14,880
Speaker 1: gotta show people that you're more than that. And since

482
00:25:14,920 --> 00:25:17,120
Speaker 1: then he's and this is all on him because he's

483
00:25:17,160 --> 00:25:18,879
Speaker 1: the songwriter and all these songs. But it's fixed a

484
00:25:18,960 --> 00:25:21,920
Speaker 1: Drink and it's good vibes and it's drunk girl, UM,

485
00:25:21,960 --> 00:25:23,879
Speaker 1: and it's done. And now Waiting on five is the

486
00:25:23,880 --> 00:25:27,240
Speaker 1: current single. He is now repeated success. So I think

487
00:25:27,240 --> 00:25:30,439
Speaker 1: the strategy changed with you know, and it was different

488
00:25:30,480 --> 00:25:33,280
Speaker 1: when I started working with Chris versus working with Gabby then.

489
00:25:33,640 --> 00:25:35,760
Speaker 1: So I think that's how it was different for Chris

490
00:25:36,760 --> 00:25:38,760
Speaker 1: if And there are a lot of artists that listen

491
00:25:38,800 --> 00:25:40,440
Speaker 1: to this podcast because we do go on the weeds

492
00:25:40,480 --> 00:25:44,920
Speaker 1: at times with publishing. Now with management obviously, sometimes they're like,

493
00:25:44,920 --> 00:25:47,600
Speaker 1: how the heck do I get a manager? And uh?

494
00:25:47,640 --> 00:25:50,800
Speaker 1: And my answer is always the same when anyone's asking

495
00:25:50,800 --> 00:25:52,280
Speaker 1: how do I do anything? It's play as many places

496
00:25:52,359 --> 00:25:54,640
Speaker 1: you can be and hopefully you catch someone's eye. That's

497
00:25:54,640 --> 00:25:56,640
Speaker 1: just my general answer because I know that's not wrong.

498
00:25:56,680 --> 00:25:58,919
Speaker 1: It may not be right, but it's not wrong. So

499
00:25:59,000 --> 00:26:01,359
Speaker 1: as someone who it's pretty high up at the biggest

500
00:26:01,359 --> 00:26:04,119
Speaker 1: management company in town, I'm assuming, right, that's the biggest

501
00:26:04,160 --> 00:26:06,880
Speaker 1: in town. It is right, it's the biggest independent management

502
00:26:06,880 --> 00:26:09,040
Speaker 1: company I think in the world, the way that's in

503
00:26:09,080 --> 00:26:11,240
Speaker 1: it's set up, and I think from a from a

504
00:26:11,320 --> 00:26:14,080
Speaker 1: number of staff and artists, probably the biggest. So how

505
00:26:14,119 --> 00:26:19,000
Speaker 1: does one that's unmanaged get a manager? Man? So many

506
00:26:19,000 --> 00:26:21,040
Speaker 1: avenues for that. And you know, if you're an aspiring

507
00:26:21,119 --> 00:26:23,360
Speaker 1: artist and you're listening to this and you want to say, man,

508
00:26:23,359 --> 00:26:26,480
Speaker 1: how do I find a manager? Um? You know, managers

509
00:26:26,520 --> 00:26:29,920
Speaker 1: come in different shapes and sizes. I tell you, the

510
00:26:30,200 --> 00:26:31,960
Speaker 1: role of the manager is somebody that you can really trust.

511
00:26:32,040 --> 00:26:34,760
Speaker 1: And I hate to say that anybody can be a manager,

512
00:26:34,800 --> 00:26:37,600
Speaker 1: but to a certain extent, you know, there are a

513
00:26:37,640 --> 00:26:39,520
Speaker 1: lot of people. And I listened to the podcast. Actually

514
00:26:39,520 --> 00:26:41,600
Speaker 1: my prep work coming into today was listening to the

515
00:26:41,640 --> 00:26:44,720
Speaker 1: podcast with Kerry Edwards. She wasn't a manager when she

516
00:26:44,760 --> 00:26:47,960
Speaker 1: first started working with Luke, but she was somebody that

517
00:26:48,119 --> 00:26:52,520
Speaker 1: believed in Luke and Luke trusted and they had built

518
00:26:52,520 --> 00:26:55,720
Speaker 1: and report together and you know, just found that sort

519
00:26:55,760 --> 00:26:59,760
Speaker 1: of synergy to lean on each other. And you know,

520
00:26:59,800 --> 00:27:02,040
Speaker 1: look at the success that they've had. And she is

521
00:27:02,560 --> 00:27:05,359
Speaker 1: his manager still today from the day one. UM. But

522
00:27:05,400 --> 00:27:07,080
Speaker 1: she didn't start that way. She was a publisher and

523
00:27:07,119 --> 00:27:10,400
Speaker 1: prior to that she was at a record company. And UM,

524
00:27:10,440 --> 00:27:12,840
Speaker 1: so I think you can find a manager in anybody,

525
00:27:12,880 --> 00:27:16,880
Speaker 1: but UM that you trust and you build a relationship with.

526
00:27:17,040 --> 00:27:19,840
Speaker 1: But you know, I think from my perspective, we get

527
00:27:20,119 --> 00:27:25,720
Speaker 1: some recommendations from mortists, from attorneys, from publishers, from record companies. UM.

528
00:27:25,760 --> 00:27:28,119
Speaker 1: You know, we get recommendations a lot. That's how we

529
00:27:28,200 --> 00:27:31,760
Speaker 1: find artists. Mostly, UM, is from the publishing community or

530
00:27:31,880 --> 00:27:34,200
Speaker 1: from the booking agents that have seen an artist down

531
00:27:34,200 --> 00:27:37,080
Speaker 1: on the road. UM. If you're an artist and you

532
00:27:37,119 --> 00:27:42,119
Speaker 1: haven't necessarily built those relationships, UM, to be honest with you,

533
00:27:42,160 --> 00:27:44,359
Speaker 1: I don't know that you need managers. Probably not the

534
00:27:44,359 --> 00:27:46,199
Speaker 1: first move that you need to make. You don't need

535
00:27:46,240 --> 00:27:47,679
Speaker 1: to go, hey, I need to go get a manager,

536
00:27:47,680 --> 00:27:50,720
Speaker 1: and then I can build everybody. Um. I think probably

537
00:27:51,000 --> 00:27:52,760
Speaker 1: you start with if you're a songwriter, you start in

538
00:27:52,760 --> 00:27:55,199
Speaker 1: the songwriting community, and you build your relationships with the

539
00:27:55,240 --> 00:27:56,639
Speaker 1: p R O S and that's a B M I

540
00:27:56,760 --> 00:27:58,640
Speaker 1: or as CAP or C sack and then they helped

541
00:27:58,640 --> 00:28:01,919
Speaker 1: develop and build relationships and of the publishing community. And

542
00:28:01,920 --> 00:28:04,080
Speaker 1: then once you build into the publishing community, that starts

543
00:28:04,080 --> 00:28:06,960
Speaker 1: to build out your team. And that's where a manager

544
00:28:07,000 --> 00:28:10,280
Speaker 1: really is a valuable part of the team. It's probably

545
00:28:10,280 --> 00:28:13,760
Speaker 1: not the first team member you have in most cases. Um,

546
00:28:13,800 --> 00:28:16,280
Speaker 1: it's when you're at a level where you're ready to

547
00:28:16,320 --> 00:28:18,080
Speaker 1: go in the marketplace and you've got got to make

548
00:28:18,119 --> 00:28:20,520
Speaker 1: some of those decisions and pitched to the labels and

549
00:28:20,520 --> 00:28:23,960
Speaker 1: and you know, kind of make the touring moves that

550
00:28:24,080 --> 00:28:27,600
Speaker 1: I think the manager is probably the most important component

551
00:28:27,640 --> 00:28:29,960
Speaker 1: of your team at that point. To shift the question

552
00:28:30,000 --> 00:28:31,280
Speaker 1: just to bid how in the world you get to

553
00:28:31,280 --> 00:28:33,399
Speaker 1: be a manager, because again we have those people too

554
00:28:33,440 --> 00:28:36,560
Speaker 1: who are working entry level jobs or there or their

555
00:28:36,640 --> 00:28:38,520
Speaker 1: artists who don't want to do it anymore. And who

556
00:28:38,640 --> 00:28:40,400
Speaker 1: maybe had it busted through and I'm like, hey, I

557
00:28:40,440 --> 00:28:42,320
Speaker 1: think I just want to manage. And people may come

558
00:28:42,320 --> 00:28:46,080
Speaker 1: to you like how do people become a manager? Well,

559
00:28:46,280 --> 00:28:49,640
Speaker 1: I think it. What makes you a good manager is experience,

560
00:28:50,120 --> 00:28:52,760
Speaker 1: um and something. Well, that's where I was going to

561
00:28:52,840 --> 00:28:54,440
Speaker 1: go with it. I think in something, I mean, I

562
00:28:54,440 --> 00:28:56,520
Speaker 1: think this is such a small town in some ways,

563
00:28:56,520 --> 00:28:59,520
Speaker 1: I don't want to say it in town is referring

564
00:28:59,560 --> 00:29:02,600
Speaker 1: to Nashville. Mostly is that it's just such a small

565
00:29:02,600 --> 00:29:04,520
Speaker 1: community of people and we all learn from each other,

566
00:29:04,560 --> 00:29:06,840
Speaker 1: we all work really well together, and we all get

567
00:29:06,840 --> 00:29:11,560
Speaker 1: along for the most part. I think it's fair to say, Um,

568
00:29:11,880 --> 00:29:15,800
Speaker 1: you know, it's finding the avenue that, um, you know,

569
00:29:15,880 --> 00:29:18,840
Speaker 1: where you're passionate about. In some cases it's in the

570
00:29:18,840 --> 00:29:21,600
Speaker 1: song runting community and you're working in the publishing world

571
00:29:21,640 --> 00:29:24,120
Speaker 1: and you decide you want to make a move into management.

572
00:29:24,440 --> 00:29:26,240
Speaker 1: Then you find that artist that you really want to

573
00:29:26,280 --> 00:29:29,080
Speaker 1: work with, Like you find you know, and I encourage

574
00:29:29,120 --> 00:29:33,280
Speaker 1: people if they're in high school or college, um, you know,

575
00:29:33,360 --> 00:29:36,000
Speaker 1: find that local talent and and and work with them

576
00:29:36,040 --> 00:29:38,240
Speaker 1: and try to help them and learn as you go.

577
00:29:38,320 --> 00:29:41,680
Speaker 1: It's experience for the most part that really gives you

578
00:29:41,720 --> 00:29:44,000
Speaker 1: the credentials to become a manager. I'll tell you. For me,

579
00:29:44,720 --> 00:29:48,000
Speaker 1: what I think makes me um good at my job

580
00:29:48,040 --> 00:29:50,880
Speaker 1: and management is that I have been in this industry

581
00:29:51,120 --> 00:29:55,280
Speaker 1: a long time and the gray hairs are showing it. Um.

582
00:29:55,320 --> 00:29:58,120
Speaker 1: But for me, I was in the marketing department at

583
00:29:57,760 --> 00:30:00,720
Speaker 1: a record company and that's where I learned about radio,

584
00:30:00,760 --> 00:30:05,000
Speaker 1: and that's when I learned about sort of branding and UM.

585
00:30:05,000 --> 00:30:07,360
Speaker 1: Working with artists and knowing the sort of the nuances

586
00:30:07,400 --> 00:30:10,720
Speaker 1: of the artists and UM. And I think for me,

587
00:30:10,800 --> 00:30:14,239
Speaker 1: that's given me a broad scope of the industry as

588
00:30:14,280 --> 00:30:17,440
Speaker 1: a whole. That makes me I think a valuable part

589
00:30:17,440 --> 00:30:21,760
Speaker 1: of the management team is knowing already the nuances of

590
00:30:21,760 --> 00:30:24,520
Speaker 1: of the labels and the decisions that need to be

591
00:30:24,560 --> 00:30:27,760
Speaker 1: made there. So I think, UM, it's it's really grinding

592
00:30:27,760 --> 00:30:29,920
Speaker 1: it out in the industry for most part. I do

593
00:30:30,000 --> 00:30:31,360
Speaker 1: think there are a lot of people that wave their

594
00:30:31,360 --> 00:30:32,719
Speaker 1: hands when they come out of college and they say

595
00:30:32,760 --> 00:30:34,600
Speaker 1: I want to be a manager, and they just they

596
00:30:34,600 --> 00:30:37,960
Speaker 1: start working with artists, but they just don't know the

597
00:30:38,320 --> 00:30:40,720
Speaker 1: as I said road map earlier, they don't know the roadmap,

598
00:30:40,760 --> 00:30:42,320
Speaker 1: and so they're just to figure out as they go

599
00:30:42,440 --> 00:30:46,040
Speaker 1: and you know, I was lucky enough going to Belmont.

600
00:30:46,080 --> 00:30:48,720
Speaker 1: I went to Belmont University and I'm major in music business,

601
00:30:48,720 --> 00:30:51,000
Speaker 1: and I did internships. I jumped into the internal world.

602
00:30:51,040 --> 00:30:53,360
Speaker 1: I think Mike d is a who's sitting at the

603
00:30:53,440 --> 00:30:56,360
Speaker 1: table with us here is a glowing example of it.

604
00:30:56,400 --> 00:30:59,160
Speaker 1: You know, you just gotta get involved, you know, and

605
00:30:59,160 --> 00:31:01,280
Speaker 1: and as soon as you can, if you if you

606
00:31:01,480 --> 00:31:05,120
Speaker 1: want to be in management, UM, it's it's getting an internship,

607
00:31:05,200 --> 00:31:07,960
Speaker 1: you know, and working in the management community and um

608
00:31:08,040 --> 00:31:10,960
Speaker 1: learning and just growing. And then you become an assistant

609
00:31:11,000 --> 00:31:12,720
Speaker 1: within the management community. Then you become a day to

610
00:31:12,800 --> 00:31:14,920
Speaker 1: day manager. What means you're basically you're you know, you're

611
00:31:14,960 --> 00:31:17,560
Speaker 1: handling the calendar and you're making sure that the the

612
00:31:17,640 --> 00:31:19,720
Speaker 1: days and the minutes are being taken care of, that

613
00:31:19,720 --> 00:31:21,320
Speaker 1: the artist is where they need to be. And then

614
00:31:22,160 --> 00:31:24,880
Speaker 1: you kind of grow into a more strategic manager and

615
00:31:24,880 --> 00:31:28,120
Speaker 1: become a manager and have a roster of your own. Um.

616
00:31:28,160 --> 00:31:30,440
Speaker 1: But it's time and experience. And that's a long answer

617
00:31:30,480 --> 00:31:33,960
Speaker 1: to your question, but I think sort of helps illustrate.

618
00:31:34,000 --> 00:31:36,200
Speaker 1: It's just it's time and experience mostly that makes you

619
00:31:36,240 --> 00:31:39,200
Speaker 1: a good manager. You're doing marketing universal you leave to

620
00:31:39,240 --> 00:31:42,320
Speaker 1: go to Red Light to be the marketing guy there

621
00:31:42,360 --> 00:31:44,640
Speaker 1: as well. When did you go ahead? I think I

622
00:31:44,680 --> 00:31:47,240
Speaker 1: actually want to, you know, get my my hands dirty

623
00:31:47,360 --> 00:31:49,040
Speaker 1: and actually work with an art And who was the

624
00:31:49,080 --> 00:31:51,320
Speaker 1: first artist that you actually were in with where you

625
00:31:51,320 --> 00:31:56,240
Speaker 1: were making decisions for them specifically? Well, when I came

626
00:31:56,320 --> 00:31:58,800
Speaker 1: over to Red Light, I did not necessarily have designs

627
00:31:58,840 --> 00:32:02,440
Speaker 1: to be a manager. UM. I was looking for a

628
00:32:02,480 --> 00:32:05,160
Speaker 1: new opportunity. I've been in the record company business for

629
00:32:05,400 --> 00:32:07,560
Speaker 1: going on twenty years. At that point, I started at

630
00:32:08,160 --> 00:32:10,360
Speaker 1: a small company in town called Rising Tide when I

631
00:32:10,400 --> 00:32:12,600
Speaker 1: was finishing at Belmont, but I was working there basically

632
00:32:12,640 --> 00:32:15,160
Speaker 1: full time and worked there for a couple of years,

633
00:32:15,200 --> 00:32:19,160
Speaker 1: and then I went over to UM Mercury Records, and

634
00:32:19,200 --> 00:32:22,600
Speaker 1: I'd seen the sort of the change of the industry

635
00:32:22,600 --> 00:32:24,560
Speaker 1: and at that point Napster it hit that. This again

636
00:32:24,680 --> 00:32:27,280
Speaker 1: dates me, but that's when Napster hit the scene, and

637
00:32:27,680 --> 00:32:31,440
Speaker 1: UM I could see how that was changing the record industry.

638
00:32:32,280 --> 00:32:35,080
Speaker 1: Because Mercury Records, there were a lot of independent company

639
00:32:35,080 --> 00:32:37,080
Speaker 1: There was Lyric Street Records, there was dream Works, there

640
00:32:37,120 --> 00:32:39,320
Speaker 1: was Mercury, there was m c A, there was Arista,

641
00:32:39,480 --> 00:32:41,600
Speaker 1: there was Giant Records, there was Curb. I mean, there

642
00:32:41,680 --> 00:32:44,400
Speaker 1: was all these record companies around town and I was

643
00:32:44,440 --> 00:32:46,440
Speaker 1: working for Mercury and at that time I had a

644
00:32:46,560 --> 00:32:49,280
Speaker 1: really strong roster. Shania Twain was on the roster and

645
00:32:49,280 --> 00:32:51,520
Speaker 1: what was sort of the biggest artist that they had

646
00:32:51,560 --> 00:32:53,760
Speaker 1: at that time, and it was coming off of the

647
00:32:53,800 --> 00:32:56,720
Speaker 1: Come On Over record, which was selling Diamond, which was

648
00:32:56,720 --> 00:32:58,960
Speaker 1: ten million. And if you look at stats today in

649
00:32:59,040 --> 00:33:01,880
Speaker 1: terms of what wrecks are getting certified, that's it's almost

650
00:33:01,920 --> 00:33:05,920
Speaker 1: unheard of today. Um, when you put in streaming equivalents,

651
00:33:05,960 --> 00:33:08,480
Speaker 1: you know people are getting there. But but that was huge.

652
00:33:08,520 --> 00:33:10,640
Speaker 1: So it Schneia Twain, and it was Terry Clark and

653
00:33:10,720 --> 00:33:13,920
Speaker 1: Sammy Kershaw and Jamie O'Neil, and then we had the

654
00:33:13,920 --> 00:33:15,920
Speaker 1: Old Brother where at Ou soundtrack that just sort of

655
00:33:15,960 --> 00:33:19,880
Speaker 1: blew up. But what we were seeing was, um that

656
00:33:20,160 --> 00:33:22,000
Speaker 1: we were seeing a huge decline in sales that were

657
00:33:22,040 --> 00:33:23,960
Speaker 1: starting to happen. And with that then all the mergers.

658
00:33:23,960 --> 00:33:26,000
Speaker 1: So Mercury then became Mercury m c A. We we

659
00:33:26,080 --> 00:33:29,640
Speaker 1: merged with m c A and I saw a staff decline.

660
00:33:29,680 --> 00:33:31,360
Speaker 1: We we had to they had to let some people go,

661
00:33:31,440 --> 00:33:33,160
Speaker 1: and then it was Mercury m c A. Dream Works

662
00:33:33,240 --> 00:33:36,320
Speaker 1: when we made merged with DreamWorks, and I saw staff

663
00:33:36,880 --> 00:33:40,680
Speaker 1: and layoffs um and then we shut down that imprint

664
00:33:40,760 --> 00:33:44,840
Speaker 1: DreamWorks altogether, and then we merged with E M I Capital,

665
00:33:44,920 --> 00:33:47,040
Speaker 1: So then that became what is now known as Universal

666
00:33:47,080 --> 00:33:50,040
Speaker 1: Music Nashville, which is Mercury, m C A Capital and EMI.

667
00:33:50,600 --> 00:33:52,600
Speaker 1: And then I saw the same thing. I saw layoffs,

668
00:33:52,600 --> 00:33:55,400
Speaker 1: and so I was through this. I don't know, just

669
00:33:55,400 --> 00:34:00,280
Speaker 1: just kept seeing this changing environment and layoffs and consolidations

670
00:34:00,360 --> 00:34:02,960
Speaker 1: and what seemed to be do more with less people,

671
00:34:03,040 --> 00:34:05,400
Speaker 1: less money was was what seemed to be the strategy.

672
00:34:05,440 --> 00:34:08,600
Speaker 1: And so at that point then that's you know, like

673
00:34:08,640 --> 00:34:10,600
Speaker 1: I said, almost twenty years later, of kind of going

674
00:34:10,640 --> 00:34:13,440
Speaker 1: through that grind. And luckily, you know, I always had

675
00:34:13,440 --> 00:34:16,359
Speaker 1: a home at a record company during all that. But

676
00:34:16,400 --> 00:34:18,080
Speaker 1: I did start to think, Man, there's gotta be a

677
00:34:18,080 --> 00:34:20,000
Speaker 1: different path for me. I keep seeing the decline within

678
00:34:20,000 --> 00:34:23,320
Speaker 1: the record companies, and you know, where is my skill set?

679
00:34:23,440 --> 00:34:26,200
Speaker 1: And you know for me in marketing, you know, the

680
00:34:26,480 --> 00:34:29,520
Speaker 1: other places to work in the industry, and there are

681
00:34:29,560 --> 00:34:31,799
Speaker 1: several it's you know, business management. I don't have an

682
00:34:31,800 --> 00:34:34,240
Speaker 1: accounting background, so I can't just jump into business management.

683
00:34:34,239 --> 00:34:37,200
Speaker 1: I hadn't been working in the touring environment, so I

684
00:34:37,239 --> 00:34:40,640
Speaker 1: couldn't just jump into being a booking agent. And you know,

685
00:34:40,680 --> 00:34:43,879
Speaker 1: I wasn't an attorney, you know, and I hadn't worked

686
00:34:43,920 --> 00:34:45,479
Speaker 1: in the merged business. So I was just thinking, what's

687
00:34:45,600 --> 00:34:49,200
Speaker 1: what's my next path? And you know, I think to

688
00:34:49,320 --> 00:34:51,280
Speaker 1: be a good manager, you have to be a good marketer.

689
00:34:51,320 --> 00:34:54,480
Speaker 1: I think everything is marketing, really um And so I

690
00:34:54,880 --> 00:34:57,239
Speaker 1: just kept thinking that probably my next life in the

691
00:34:57,239 --> 00:35:00,480
Speaker 1: industry is in the management world, and that's the timing

692
00:35:00,560 --> 00:35:02,000
Speaker 1: was right for me as I was starting to have

693
00:35:02,120 --> 00:35:04,640
Speaker 1: this internal struggle about what's next for me and my

694
00:35:04,719 --> 00:35:07,960
Speaker 1: path in the industry is was right at that time

695
00:35:07,960 --> 00:35:09,719
Speaker 1: when we had merged with the in My Capital, and

696
00:35:10,560 --> 00:35:15,399
Speaker 1: I also had felt at the company. UM, I don't

697
00:35:15,440 --> 00:35:17,920
Speaker 1: know that I felt like I saw my path earlier.

698
00:35:17,960 --> 00:35:19,880
Speaker 1: Before we merged with them my Capital, I'd sort of

699
00:35:20,040 --> 00:35:21,640
Speaker 1: rose in the ranks and I was the VP of

700
00:35:21,640 --> 00:35:24,000
Speaker 1: Marketing at Mercury m c A. And then with the

701
00:35:24,040 --> 00:35:26,400
Speaker 1: merger there was a whole new group of folks came in,

702
00:35:26,440 --> 00:35:28,279
Speaker 1: a new head of the company. The head of the

703
00:35:28,280 --> 00:35:31,160
Speaker 1: company that had been their prior, Luke Lewis, had always

704
00:35:31,160 --> 00:35:34,000
Speaker 1: been you know, soon of my he was my mentor

705
00:35:34,040 --> 00:35:36,200
Speaker 1: and boss at that time, and I felt like I

706
00:35:36,200 --> 00:35:38,760
Speaker 1: always had home from him, him with him, and he left,

707
00:35:38,920 --> 00:35:40,920
Speaker 1: and that's when Mike Dungan came in and run the company.

708
00:35:40,920 --> 00:35:43,440
Speaker 1: And I've known Mike for a long time, and I've

709
00:35:43,480 --> 00:35:45,879
Speaker 1: heard his name multiple times on this podcast because he's

710
00:35:45,880 --> 00:35:48,239
Speaker 1: had such an influence and he has on me, But

711
00:35:48,480 --> 00:35:51,920
Speaker 1: still he wasn't my guy necessarily, and and so then

712
00:35:51,960 --> 00:35:54,560
Speaker 1: I had to adapt into this new team, and I

713
00:35:54,640 --> 00:35:58,480
Speaker 1: just I didn't feel like I necessarily had my long

714
00:35:58,640 --> 00:36:03,600
Speaker 1: term UM hath at this new Universal Music Group company,

715
00:36:03,640 --> 00:36:05,160
Speaker 1: and so I was keeping my eyes and ears open.

716
00:36:05,160 --> 00:36:08,399
Speaker 1: And that's when I think seeing some of that change

717
00:36:08,400 --> 00:36:10,920
Speaker 1: in the industry. Corren Capshaw, who was the head of

718
00:36:11,360 --> 00:36:13,920
Speaker 1: UM Red Light, had heard my name and actually with

719
00:36:14,000 --> 00:36:16,600
Speaker 1: a colleague when by the name of Mary Hilliard, had

720
00:36:16,680 --> 00:36:19,680
Speaker 1: mentioned my name to Corn because he was looking to

721
00:36:19,719 --> 00:36:22,399
Speaker 1: expand the Nashville office. And the reason he was looking

722
00:36:22,440 --> 00:36:24,640
Speaker 1: to expand the Nashville office was kind of the same

723
00:36:24,640 --> 00:36:27,320
Speaker 1: reason I was looking to leave the record company. Because

724
00:36:27,320 --> 00:36:29,200
Speaker 1: he had seen the trend of the record companies. And

725
00:36:29,880 --> 00:36:31,799
Speaker 1: if you're having a management company, you put a lot

726
00:36:31,880 --> 00:36:35,719
Speaker 1: of your hope and trust in and you're in the

727
00:36:35,719 --> 00:36:40,320
Speaker 1: manpower Um that you expect to to have was succeed

728
00:36:40,320 --> 00:36:42,279
Speaker 1: with an artist with the record company. You're hoping the

729
00:36:42,280 --> 00:36:45,000
Speaker 1: record company has the resources to really support your artist

730
00:36:45,040 --> 00:36:47,320
Speaker 1: and break your artists in the marketplace. And he was

731
00:36:47,360 --> 00:36:49,640
Speaker 1: seeing that trend managing artist. He was seeing that all

732
00:36:49,640 --> 00:36:51,680
Speaker 1: these record companies that we were signing our artists to,

733
00:36:51,760 --> 00:36:54,600
Speaker 1: a lot of these record companies were reducing their staff,

734
00:36:54,680 --> 00:36:57,120
Speaker 1: reducing their budgets, and so he kept thinking, well, gosh,

735
00:36:57,160 --> 00:37:01,520
Speaker 1: as a management company, I can't eve you know, the

736
00:37:02,280 --> 00:37:05,320
Speaker 1: future of artists in the hands of record companies solely

737
00:37:06,120 --> 00:37:08,080
Speaker 1: if they're declining. So I need to start building out

738
00:37:08,120 --> 00:37:11,480
Speaker 1: my staff. And so he knew that this change was

739
00:37:11,520 --> 00:37:13,960
Speaker 1: happening over at Universal and Mary Hilliard had said, Hey,

740
00:37:13,960 --> 00:37:16,680
Speaker 1: I know this guy Tom and recommended that Corn just

741
00:37:16,760 --> 00:37:19,560
Speaker 1: meet me. And it's so funny. She reached out to

742
00:37:19,560 --> 00:37:20,759
Speaker 1: me and said, hey, you want to meet this guy,

743
00:37:21,120 --> 00:37:23,120
Speaker 1: Um Corn, and I said, yeah, I'd love to. I mean,

744
00:37:23,200 --> 00:37:24,480
Speaker 1: I didn't know what it was. I thought it was

745
00:37:24,520 --> 00:37:28,680
Speaker 1: just to meet him. Um. I didn't necessarily know or

746
00:37:28,719 --> 00:37:31,279
Speaker 1: think that it was a interview. But if you know

747
00:37:31,400 --> 00:37:34,080
Speaker 1: Corn and Bobby, I know you do you know he's

748
00:37:34,120 --> 00:37:36,560
Speaker 1: he's right to business. You know, there's no hey, let's

749
00:37:36,560 --> 00:37:37,920
Speaker 1: talk about your life. I mean it's like, tell me

750
00:37:37,960 --> 00:37:39,440
Speaker 1: what you do, tell me what you do for the

751
00:37:39,480 --> 00:37:43,120
Speaker 1: record company? Um, you know, do you ever work in internationally?

752
00:37:43,160 --> 00:37:44,759
Speaker 1: We're working. I mean, he was straight to business. And

753
00:37:44,800 --> 00:37:46,239
Speaker 1: I left the lunch with him and I thought, well,

754
00:37:46,239 --> 00:37:47,880
Speaker 1: that wouldn't like I get to know. That was an

755
00:37:47,880 --> 00:37:52,880
Speaker 1: interview and we just kept conversation and then he invited

756
00:37:52,920 --> 00:37:57,080
Speaker 1: me to join Red Light and I told him, I said, listen,

757
00:37:57,120 --> 00:38:00,319
Speaker 1: I've never managed anybody, so I don't know that. I mean,

758
00:38:00,320 --> 00:38:03,560
Speaker 1: I'm very interested, but I don't know that I would

759
00:38:03,560 --> 00:38:05,400
Speaker 1: have to learn. And he said, well, I don't necessarily

760
00:38:05,440 --> 00:38:07,120
Speaker 1: need you to manage anybody. I want you to come

761
00:38:07,160 --> 00:38:09,359
Speaker 1: and help me with marketing and help let's let's let's

762
00:38:09,400 --> 00:38:12,040
Speaker 1: make this company a bigger and better management company. And

763
00:38:12,040 --> 00:38:14,520
Speaker 1: that's when I left the record company, which is a

764
00:38:14,520 --> 00:38:16,480
Speaker 1: little bit of a leap of faith. I mean my personality,

765
00:38:16,520 --> 00:38:20,800
Speaker 1: I'm I like some risk, but sometimes risk adverse. And

766
00:38:20,840 --> 00:38:23,080
Speaker 1: I've been at the record companies for, like I said,

767
00:38:23,120 --> 00:38:25,200
Speaker 1: almost twenty years, and so I felt comfortable at my

768
00:38:25,280 --> 00:38:27,120
Speaker 1: four oh one k you know, and all of those things,

769
00:38:27,120 --> 00:38:32,320
Speaker 1: and but I don't think I was feeling fulfilled. And um,

770
00:38:32,360 --> 00:38:35,279
Speaker 1: it was my wife who said, Tom, listen, you've got it.

771
00:38:35,560 --> 00:38:37,080
Speaker 1: I think you need to make a change, you know,

772
00:38:37,120 --> 00:38:40,719
Speaker 1: for your own self personally, but also professionally. And um,

773
00:38:41,040 --> 00:38:45,200
Speaker 1: you know, I love my former employees and and um

774
00:38:45,360 --> 00:38:47,440
Speaker 1: colleagues over at Universal and all the record company that

775
00:38:47,480 --> 00:38:48,960
Speaker 1: I worked with, But that was the best boot move

776
00:38:49,000 --> 00:38:53,360
Speaker 1: I can make. I I immediately felt more fulfillment, enjoyment

777
00:38:53,360 --> 00:38:55,520
Speaker 1: out of management, and I just really got the bug

778
00:38:55,560 --> 00:38:57,120
Speaker 1: and I started to really understand it more So to

779
00:38:57,160 --> 00:38:59,240
Speaker 1: answer your question, this is a long answer to your question,

780
00:38:59,239 --> 00:39:01,759
Speaker 1: but you asked what made me decide from marketing to

781
00:39:01,800 --> 00:39:05,120
Speaker 1: get into more specific artist management, And I think it

782
00:39:05,200 --> 00:39:08,319
Speaker 1: was learning more about what that business is. And when

783
00:39:08,320 --> 00:39:10,239
Speaker 1: I was sitting in the seat of the record company,

784
00:39:11,280 --> 00:39:12,919
Speaker 1: I felt like we were the only ones doing the work.

785
00:39:12,920 --> 00:39:15,360
Speaker 1: And you hear people at the record company complaining the

786
00:39:15,360 --> 00:39:17,080
Speaker 1: same man, what's the manager doing? I feel like we're

787
00:39:17,120 --> 00:39:19,640
Speaker 1: doing all the work. And then when I started working

788
00:39:19,640 --> 00:39:24,480
Speaker 1: at the management company, I realized what goes into artist management.

789
00:39:24,520 --> 00:39:30,360
Speaker 1: I mean, it is a sometimes thankless job, not with you, Bobby, um,

790
00:39:30,400 --> 00:39:34,600
Speaker 1: but sometimes thankless job. But it's seven. It's all the time,

791
00:39:34,840 --> 00:39:38,000
Speaker 1: and you know, we're dealing with the record company, but

792
00:39:38,000 --> 00:39:41,120
Speaker 1: we're also dealing with something in their personal life. We're

793
00:39:41,120 --> 00:39:44,080
Speaker 1: also dealing with UM. You know, like I said, they're

794
00:39:44,080 --> 00:39:47,080
Speaker 1: touring and the merchandise and their PR issues or whatever

795
00:39:47,120 --> 00:39:49,000
Speaker 1: it may be. And so it is a constant thing.

796
00:39:49,000 --> 00:39:52,480
Speaker 1: But I've found and I think this it is a

797
00:39:52,520 --> 00:39:54,719
Speaker 1: part of my personality as I sort of thrive in

798
00:39:54,760 --> 00:39:58,040
Speaker 1: that chaos. I really loved it. And so having been

799
00:39:58,080 --> 00:40:01,000
Speaker 1: a red Light for a while UM and in my

800
00:40:01,120 --> 00:40:03,719
Speaker 1: role of kind of overseeing marketing, there were a couple

801
00:40:03,719 --> 00:40:06,640
Speaker 1: of artists that UM had started to join the Red

802
00:40:06,719 --> 00:40:11,240
Speaker 1: Light team, but I didn't necessarily have a specific manager

803
00:40:11,280 --> 00:40:13,480
Speaker 1: that we're working with, or had been working with a manager,

804
00:40:13,920 --> 00:40:16,879
Speaker 1: and that relationship for whatever reason, just didn't work out.

805
00:40:17,080 --> 00:40:20,279
Speaker 1: And there was a young kid UM and this was

806
00:40:20,320 --> 00:40:23,359
Speaker 1: sort of my first quote unquote artist that I started

807
00:40:23,400 --> 00:40:24,520
Speaker 1: working with, and it was a young kid by the

808
00:40:24,560 --> 00:40:26,239
Speaker 1: name of Adam Sanders and he had a hit with

809
00:40:26,320 --> 00:40:28,840
Speaker 1: Cole Swindell. He wrote hit for him and wrote a

810
00:40:28,840 --> 00:40:31,520
Speaker 1: song UM for Dustin Lynch. There was a number one single,

811
00:40:31,560 --> 00:40:33,120
Speaker 1: Hell of a Night, and had a cut on Luke

812
00:40:33,160 --> 00:40:36,239
Speaker 1: Brian's record, and he was a young talented artist and

813
00:40:36,760 --> 00:40:38,920
Speaker 1: at the time I was helping him with his marketing

814
00:40:39,520 --> 00:40:42,120
Speaker 1: and his manager and he just split and he said, listen,

815
00:40:42,160 --> 00:40:44,480
Speaker 1: I'd like to stay at Red Light, and you know,

816
00:40:44,560 --> 00:40:47,520
Speaker 1: would you work with me? And that's when I started

817
00:40:47,520 --> 00:40:50,640
Speaker 1: to really work with and focus on a single artist

818
00:40:50,719 --> 00:40:52,759
Speaker 1: and kind of help him along. And you know, I

819
00:40:52,800 --> 00:40:54,919
Speaker 1: was careful not to jump too far and deep into

820
00:40:54,920 --> 00:40:57,799
Speaker 1: the quote unquote management side, more specifically with an artist,

821
00:40:57,880 --> 00:41:01,840
Speaker 1: because my role was also doing marketing um. But but

822
00:41:01,920 --> 00:41:07,960
Speaker 1: I just love that ability to focus on a single artist,

823
00:41:07,960 --> 00:41:09,799
Speaker 1: and I think that's the one thing in my role

824
00:41:09,840 --> 00:41:12,400
Speaker 1: in marketing it's hard for me to get really entrenched

825
00:41:12,400 --> 00:41:14,320
Speaker 1: into the day to the day with an artist because

826
00:41:15,600 --> 00:41:17,400
Speaker 1: there's so much going on in artist career and that's

827
00:41:17,440 --> 00:41:18,799
Speaker 1: what the manager in the day to day is doing.

828
00:41:18,800 --> 00:41:21,200
Speaker 1: And so I was sort of flying at thirty thou

829
00:41:21,400 --> 00:41:23,120
Speaker 1: feet with a lot of these artists and joining in

830
00:41:23,239 --> 00:41:25,560
Speaker 1: and a marketing meeting with them and able to offer

831
00:41:25,600 --> 00:41:29,120
Speaker 1: some suggestions or ideas. But you know, I didn't feel

832
00:41:29,160 --> 00:41:32,400
Speaker 1: like I was, you know, having that direct impact on

833
00:41:32,440 --> 00:41:34,799
Speaker 1: their day to day um. And I think that's what

834
00:41:34,920 --> 00:41:36,680
Speaker 1: gave me a little bit more of the bug to say, Man,

835
00:41:36,680 --> 00:41:38,720
Speaker 1: I'd really like to do that with a few artists

836
00:41:38,719 --> 00:41:41,520
Speaker 1: that I feel passionate about or or or people that

837
00:41:41,560 --> 00:41:45,160
Speaker 1: I feel passionate about. And and that's where it's sort

838
00:41:45,200 --> 00:41:47,879
Speaker 1: of lead me to some of the artists that I'm

839
00:41:47,880 --> 00:41:51,600
Speaker 1: working with now. I've you know, you grow really personally

840
00:41:51,640 --> 00:41:54,879
Speaker 1: attached to these artists working with them, and you want

841
00:41:54,920 --> 00:41:57,799
Speaker 1: to see them succeed and um, and that was and

842
00:41:57,840 --> 00:42:00,719
Speaker 1: that was my move I think at that point. You know,

843
00:42:00,760 --> 00:42:04,040
Speaker 1: I still I still oversee the marketing team, but also

844
00:42:04,400 --> 00:42:06,719
Speaker 1: have to balance that and focusing on some of these

845
00:42:06,800 --> 00:42:08,360
Speaker 1: artists that I work with. But but I love it

846
00:42:08,400 --> 00:42:10,359
Speaker 1: on a day to day basis. Sugar Land is another

847
00:42:10,440 --> 00:42:14,480
Speaker 1: artist when they're together that that you manage. How in

848
00:42:14,520 --> 00:42:17,280
Speaker 1: the world are folks making money when you can't tour?

849
00:42:17,600 --> 00:42:21,279
Speaker 1: Great question, Um not, They're They're making some. And and

850
00:42:21,560 --> 00:42:25,439
Speaker 1: to clarify that, I've I've worked with sugar Land from

851
00:42:25,440 --> 00:42:28,480
Speaker 1: the day they signed a record deal at Mercury Records.

852
00:42:28,480 --> 00:42:30,440
Speaker 1: I was sitting in the lobby and Mercury Records when

853
00:42:30,440 --> 00:42:33,440
Speaker 1: this new trio at the time came into the lobby

854
00:42:33,440 --> 00:42:35,600
Speaker 1: and was introduced to us as this band sugar Land,

855
00:42:35,680 --> 00:42:39,560
Speaker 1: and it was Kristen and Jennifer and Christian U the

856
00:42:39,600 --> 00:42:42,680
Speaker 1: three that were the founding members of sugar Land, and

857
00:42:43,120 --> 00:42:46,319
Speaker 1: so I had done the marketing for them, um when

858
00:42:46,320 --> 00:42:48,920
Speaker 1: I was on the record company side, and when I

859
00:42:49,040 --> 00:42:51,520
Speaker 1: left and came into management Christian Bullish at the time.

860
00:42:51,520 --> 00:42:53,160
Speaker 1: This was when they took a little bit of a

861
00:42:53,200 --> 00:42:57,560
Speaker 1: break and both pursued some other opportunities that they had,

862
00:42:57,560 --> 00:43:01,520
Speaker 1: which I think was healthy for them. Um. Christian was

863
00:43:01,560 --> 00:43:04,880
Speaker 1: looking for some management support for him, and so he

864
00:43:04,960 --> 00:43:07,000
Speaker 1: came over to Red Light and I started working with him,

865
00:43:07,000 --> 00:43:09,200
Speaker 1: and it was just a natural fit because we had

866
00:43:09,200 --> 00:43:12,520
Speaker 1: worked together before. And so when sugar Land came back together,

867
00:43:12,680 --> 00:43:14,719
Speaker 1: I worked with Christian. And then there's a woman Gail Gelman,

868
00:43:14,719 --> 00:43:17,040
Speaker 1: who works with Jennifer, and we make it work working

869
00:43:17,040 --> 00:43:20,520
Speaker 1: together for them. And UM, right now is it's a

870
00:43:20,600 --> 00:43:23,040
Speaker 1: it's a great question. They're they're victim to it. As

871
00:43:23,120 --> 00:43:24,839
Speaker 1: as all of these artists are. How are they making

872
00:43:24,880 --> 00:43:30,120
Speaker 1: money today? Um, there are a couple of ways that

873
00:43:30,160 --> 00:43:32,120
Speaker 1: an artist can make money outside of touring, but I'll

874
00:43:32,120 --> 00:43:36,920
Speaker 1: tell you it is definitely the biggest part of their pie. UM.

875
00:43:37,000 --> 00:43:40,440
Speaker 1: And as with management, because managers, as you said, you know,

876
00:43:40,480 --> 00:43:45,319
Speaker 1: the financial structure for managers that we basically participate in

877
00:43:46,080 --> 00:43:49,640
Speaker 1: an artist income um and and really income of all spheres,

878
00:43:49,760 --> 00:43:52,880
Speaker 1: you know, so that's from their merchandise, it's from personal

879
00:43:52,880 --> 00:43:56,480
Speaker 1: appearances or brand deals or whatnot UM, but a lot

880
00:43:56,520 --> 00:43:59,320
Speaker 1: of that centers around touring, and touring is where the

881
00:43:59,440 --> 00:44:01,799
Speaker 1: most money has made. And in fact, I know, you

882
00:44:01,800 --> 00:44:03,319
Speaker 1: know a segment that you had before you were talking

883
00:44:03,320 --> 00:44:05,560
Speaker 1: about sort of appearance feeds for artists, and you were

884
00:44:05,600 --> 00:44:07,920
Speaker 1: kind of going through how that works, and you know,

885
00:44:07,960 --> 00:44:09,680
Speaker 1: I think when you look at it even for an

886
00:44:09,760 --> 00:44:12,319
Speaker 1: artist that you know, when you look at the quote

887
00:44:12,400 --> 00:44:14,680
Speaker 1: unquote rate card that you had thrown out there on

888
00:44:14,760 --> 00:44:16,840
Speaker 1: some of those artists, is you know, if an artist

889
00:44:16,880 --> 00:44:20,480
Speaker 1: makes forty dollars for an appearance, that's not forty dollars

890
00:44:20,480 --> 00:44:23,000
Speaker 1: that goes into their pocket, you know, It's it's they

891
00:44:23,040 --> 00:44:25,759
Speaker 1: have expenses tied into it. It's the travel costs to

892
00:44:25,800 --> 00:44:27,279
Speaker 1: get there, they have to pay their band and crew,

893
00:44:27,400 --> 00:44:29,799
Speaker 1: they have to pay the commissions for the booking agent,

894
00:44:29,880 --> 00:44:32,759
Speaker 1: their business manager, their manager, and you know, at the

895
00:44:32,880 --> 00:44:36,919
Speaker 1: end of it, that forty dollars probably turns into ten

896
00:44:37,000 --> 00:44:40,080
Speaker 1: tho dollars or whatever it may be, and um, so

897
00:44:40,160 --> 00:44:43,360
Speaker 1: it's it gets thinner now. The bigger you play, the

898
00:44:43,400 --> 00:44:46,719
Speaker 1: bigger venues you play, the bigger your guarantees, you know,

899
00:44:46,880 --> 00:44:51,800
Speaker 1: the after expenses you're you still you're bringing home more money. Um.

900
00:44:51,880 --> 00:44:53,319
Speaker 1: But at the end of the day, it is from

901
00:44:53,360 --> 00:44:55,640
Speaker 1: the touring side where the majority of the money comes in.

902
00:44:55,680 --> 00:45:01,400
Speaker 1: And right now people are at first when COVID impact

903
00:45:01,400 --> 00:45:03,560
Speaker 1: of the touring business. You know, there are a lot

904
00:45:03,560 --> 00:45:05,440
Speaker 1: of people that I think, well, I think a lot

905
00:45:05,520 --> 00:45:07,319
Speaker 1: of us, if not all of us, really hope that

906
00:45:07,400 --> 00:45:11,000
Speaker 1: this was just a few months and then we'll be

907
00:45:11,040 --> 00:45:12,640
Speaker 1: back in business. I mean, that's what I was a

908
00:45:12,680 --> 00:45:15,960
Speaker 1: big part of in the start of this was Okay,

909
00:45:16,000 --> 00:45:18,080
Speaker 1: all of the tours that was that we're going to

910
00:45:18,120 --> 00:45:21,640
Speaker 1: start in April or May, let's move them to June

911
00:45:21,640 --> 00:45:24,400
Speaker 1: and July. And then we're thinking, okay, maybe we'll just

912
00:45:24,480 --> 00:45:26,279
Speaker 1: move some of these to August, September. And then it

913
00:45:26,400 --> 00:45:29,879
Speaker 1: just kept moving and moving and moving. Um So when

914
00:45:29,920 --> 00:45:33,319
Speaker 1: it first hit and impacted our business, I don't think

915
00:45:34,600 --> 00:45:36,880
Speaker 1: I don't think we were as much concerned about the

916
00:45:36,920 --> 00:45:40,799
Speaker 1: financial impact as we are today because it's obviously having

917
00:45:40,840 --> 00:45:44,040
Speaker 1: a bigger impact. Knowing the delay that it's put on

918
00:45:44,080 --> 00:45:47,200
Speaker 1: touring again, the biggest part of all of our business. Um.

919
00:45:47,239 --> 00:45:49,200
Speaker 1: So at first, I think people were just wanting to

920
00:45:49,239 --> 00:45:51,799
Speaker 1: stay engaged, and they were doing the virtual shows, and

921
00:45:51,840 --> 00:45:54,680
Speaker 1: they were Facebook live all the time, and and a

922
00:45:54,680 --> 00:45:56,200
Speaker 1: lot of times those were just free and it was

923
00:45:56,239 --> 00:45:58,759
Speaker 1: just free entertainment for fans to stay engaged until we

924
00:45:58,800 --> 00:46:01,600
Speaker 1: got back to business. And then I think you've seen

925
00:46:01,719 --> 00:46:04,239
Speaker 1: from that somewhat fatigue from that, I think on the

926
00:46:04,280 --> 00:46:06,360
Speaker 1: consumer side, but also on the artist side, but also

927
00:46:06,960 --> 00:46:09,160
Speaker 1: artists saying, Okay, now I have to monetize this. I

928
00:46:09,200 --> 00:46:11,399
Speaker 1: gotta figure out a way to monetize this because if

929
00:46:11,440 --> 00:46:15,160
Speaker 1: this is our quote unquote new normal for right now, um,

930
00:46:15,200 --> 00:46:17,040
Speaker 1: you know, I can't afford to just to do free

931
00:46:17,040 --> 00:46:20,240
Speaker 1: shows all the time because that's not feeding my crew,

932
00:46:20,440 --> 00:46:25,120
Speaker 1: it's not feeding my family. Um. And so a lot

933
00:46:25,160 --> 00:46:32,160
Speaker 1: of artists have moved into more branded, sponsored virtual events. Um,

934
00:46:32,400 --> 00:46:34,520
Speaker 1: there's still a way to stay I mean, listen, all

935
00:46:34,520 --> 00:46:37,640
Speaker 1: of these artists in their own right are influencers, you know,

936
00:46:37,680 --> 00:46:39,960
Speaker 1: and they have big followings you know, and they're artists

937
00:46:39,960 --> 00:46:43,920
Speaker 1: that you have millions of people on on Instagram and Facebook,

938
00:46:43,920 --> 00:46:46,520
Speaker 1: any of the social platforms, and that it is a

939
00:46:46,600 --> 00:46:48,600
Speaker 1: value to brands right now, some brands. Now, I think

940
00:46:48,600 --> 00:46:50,560
Speaker 1: it's impacted brands as well, you know, I mean I

941
00:46:50,560 --> 00:46:53,120
Speaker 1: think everybody's suffering from it. But I think you're seeing

942
00:46:53,120 --> 00:46:55,880
Speaker 1: that from sponsored content. I think you're seeing it from

943
00:46:55,960 --> 00:46:58,760
Speaker 1: virtual shows. I think you're seeing it from flash sales

944
00:46:58,800 --> 00:47:03,520
Speaker 1: and what people can do for merchandise. Um, those are

945
00:47:03,520 --> 00:47:05,920
Speaker 1: where a lot of those artists are making money. Now,

946
00:47:06,239 --> 00:47:09,920
Speaker 1: if you're an artist that is also a songwriter, that's different.

947
00:47:09,920 --> 00:47:11,879
Speaker 1: You're able to have success if your songs are being

948
00:47:11,880 --> 00:47:15,160
Speaker 1: played at radio, that that business is still there. In

949
00:47:15,200 --> 00:47:17,800
Speaker 1: the streaming business, there's there's income to be be made

950
00:47:17,920 --> 00:47:22,000
Speaker 1: on the publishing and performance right side. Sorry I'm getting

951
00:47:22,000 --> 00:47:24,160
Speaker 1: in the weeds on it, but um, you know, I

952
00:47:24,200 --> 00:47:27,960
Speaker 1: think that the basic point is without touring, that's probably

953
00:47:28,000 --> 00:47:31,600
Speaker 1: an impact of of any given artists. And I would

954
00:47:31,600 --> 00:47:36,040
Speaker 1: say management companies income right now. Have you seen anything

955
00:47:36,080 --> 00:47:39,440
Speaker 1: like Luke Combs in your time in the label or

956
00:47:39,480 --> 00:47:42,759
Speaker 1: working on management. I'll tell you, I think the closest

957
00:47:42,800 --> 00:47:47,279
Speaker 1: thing I can compare him to is what I felt

958
00:47:47,280 --> 00:47:50,600
Speaker 1: like the impact of Garth Brooks was on the community. Um,

959
00:47:50,640 --> 00:47:53,960
Speaker 1: and I wasn't even really in the business at that time.

960
00:47:53,960 --> 00:47:57,279
Speaker 1: But I once I joined the industry, everybody referred to

961
00:47:57,360 --> 00:47:59,520
Speaker 1: him and and I was a fan, you know, as

962
00:47:59,680 --> 00:48:02,480
Speaker 1: as I know you are. Um. But man, he hit

963
00:48:02,520 --> 00:48:05,319
Speaker 1: the scene and hit it fast. You know, it's much

964
00:48:05,320 --> 00:48:07,160
Speaker 1: to young to feel this damn mole, which was great,

965
00:48:07,200 --> 00:48:09,400
Speaker 1: But then it was friends in low places and unanswered

966
00:48:09,400 --> 00:48:11,880
Speaker 1: prayers and thunder rolls and all of the I mean,

967
00:48:11,920 --> 00:48:14,440
Speaker 1: it was just hit after hit after hit after almost

968
00:48:14,480 --> 00:48:17,320
Speaker 1: like the Mighta's touched. Everything he had touched was gold,

969
00:48:17,400 --> 00:48:22,759
Speaker 1: you know. And um, I can I can compare a

970
00:48:23,080 --> 00:48:27,080
Speaker 1: similar impact a way Chris Stapleton impacted, But I can't

971
00:48:27,080 --> 00:48:29,240
Speaker 1: even put those two together because Chris had been around

972
00:48:29,239 --> 00:48:31,040
Speaker 1: this town for fifteen years. He was in the Steel

973
00:48:31,120 --> 00:48:33,400
Speaker 1: Drivers and the Johnson Brothers. I mean, he had already

974
00:48:33,440 --> 00:48:36,160
Speaker 1: been in the industry for some time. Luke seemed to

975
00:48:36,200 --> 00:48:40,960
Speaker 1: come out of nowhere and is categorized, and I think

976
00:48:41,040 --> 00:48:44,480
Speaker 1: rightfully so as a superstar. He is a superstar now. Um.

977
00:48:44,680 --> 00:48:47,520
Speaker 1: So to answer your question, not necessarily, I mean, I

978
00:48:47,520 --> 00:48:50,840
Speaker 1: think you could Shania Twain, but she had a record

979
00:48:50,920 --> 00:48:54,360
Speaker 1: before she really like really hit when she partnered with

980
00:48:54,440 --> 00:48:57,360
Speaker 1: mut Lange and then that's when the the woman in

981
00:48:57,440 --> 00:48:59,960
Speaker 1: me record came out and who's betted your boots been under?

982
00:49:00,000 --> 00:49:01,879
Speaker 1: And then it was it was a rocket ship then,

983
00:49:01,960 --> 00:49:06,040
Speaker 1: but it wasn't quite the same immediate impact that I

984
00:49:06,040 --> 00:49:10,359
Speaker 1: think Luke is having. What about Aldine al Deane? I

985
00:49:10,400 --> 00:49:17,759
Speaker 1: think I guess a little different because, um, when now,

986
00:49:17,800 --> 00:49:21,759
Speaker 1: don't you say it? He had immediate hit with his

987
00:49:21,800 --> 00:49:26,000
Speaker 1: first single, only Picktown was his first single. Was the

988
00:49:26,040 --> 00:49:29,160
Speaker 1: only person I've heard compared to Luke Combs in this

989
00:49:29,239 --> 00:49:32,719
Speaker 1: generation because Garth is the last, the one right before

990
00:49:32,719 --> 00:49:37,360
Speaker 1: I is al Deane. That's probably a good one. And

991
00:49:37,400 --> 00:49:40,640
Speaker 1: I remember because I was in the industry when that happened. Um,

992
00:49:40,680 --> 00:49:43,759
Speaker 1: And I think what's surprised people most what too was

993
00:49:43,800 --> 00:49:45,680
Speaker 1: that was an independent record company. This was a new

994
00:49:45,719 --> 00:49:48,480
Speaker 1: record company. Benny Brown had started with Broken Bow Records,

995
00:49:48,480 --> 00:49:53,080
Speaker 1: and here was this you know, new kid. Um that

996
00:49:53,160 --> 00:49:58,920
Speaker 1: hit and you're right, it was hit after hit for him. Um.

997
00:49:59,080 --> 00:50:02,920
Speaker 1: I think Luke's trajectory, at least it seems perceptually from

998
00:50:02,920 --> 00:50:06,080
Speaker 1: me right now, it seems to even has sort of

999
00:50:06,080 --> 00:50:09,120
Speaker 1: exceeded that. But I think that's a great example. Jason

1000
00:50:09,160 --> 00:50:12,960
Speaker 1: did have immediate impact and then you know, just years

1001
00:50:13,040 --> 00:50:16,640
Speaker 1: later is selling out. You know, Georgia Stadium and having

1002
00:50:17,080 --> 00:50:19,359
Speaker 1: you know, the tremendous success. But that but listening any

1003
00:50:19,400 --> 00:50:22,360
Speaker 1: of the superstars that we have today, it didn't happen overnight.

1004
00:50:22,400 --> 00:50:24,799
Speaker 1: You know. Luke Bryan a great example who as we

1005
00:50:25,000 --> 00:50:27,680
Speaker 1: mentioned earlier, you know, it was a couple of records

1006
00:50:27,680 --> 00:50:30,279
Speaker 1: in when he really really hit was it Tailgates and

1007
00:50:30,320 --> 00:50:33,560
Speaker 1: tan Lines. That was like at that point he had arrived.

1008
00:50:33,680 --> 00:50:37,080
Speaker 1: Eric Church was an immediate you know, and that took

1009
00:50:37,120 --> 00:50:41,080
Speaker 1: a bit. And then superstar, um, Carrie Underwood I think

1010
00:50:41,120 --> 00:50:44,279
Speaker 1: had tremendous impact with her first single, but I think

1011
00:50:44,320 --> 00:50:46,600
Speaker 1: it was a little different. I think that was I

1012
00:50:46,640 --> 00:50:50,080
Speaker 1: don't think it. I didn't feel like she came off

1013
00:50:50,080 --> 00:50:52,759
Speaker 1: of a you know, American idol too, And I don't know,

1014
00:50:52,800 --> 00:50:54,279
Speaker 1: I don't know that I could put it the same way.

1015
00:50:54,360 --> 00:50:57,960
Speaker 1: Miranda took a while before Kerosene and then really started

1016
00:50:58,000 --> 00:51:01,399
Speaker 1: to have hits. And it doesn't happen like you see

1017
00:51:01,400 --> 00:51:05,120
Speaker 1: it with with Luke Hombs, you know, and um, you know,

1018
00:51:05,160 --> 00:51:08,160
Speaker 1: I give it to him. He's done no wrong so far,

1019
00:51:08,280 --> 00:51:10,960
Speaker 1: and um, you know, good for him. I'd like to

1020
00:51:10,960 --> 00:51:12,560
Speaker 1: see that, you know. I want to see young I

1021
00:51:12,600 --> 00:51:14,400
Speaker 1: want to see new superstars. I think we as a

1022
00:51:14,400 --> 00:51:16,920
Speaker 1: format have to have that not that not that you

1023
00:51:16,920 --> 00:51:19,799
Speaker 1: want to see people evolve out. And I think that's

1024
00:51:19,800 --> 00:51:23,440
Speaker 1: the beauty of country music is that country artists can

1025
00:51:23,480 --> 00:51:26,120
Speaker 1: have those twenty thirty artist, you know, year careers. And

1026
00:51:26,160 --> 00:51:27,719
Speaker 1: I think you've seen it with George Strait and the

1027
00:51:27,760 --> 00:51:31,080
Speaker 1: Alan Jackson's Martina McBride, who's still having success, maybe not

1028
00:51:32,040 --> 00:51:35,920
Speaker 1: the same relative success that you see if you're benchmarking

1029
00:51:36,080 --> 00:51:38,920
Speaker 1: against radio, but she's still able to go out there

1030
00:51:38,920 --> 00:51:40,560
Speaker 1: and tour. And you look at all of these others,

1031
00:51:40,640 --> 00:51:42,960
Speaker 1: the Mark you know, the Mark Chestnuts and Mark Wills

1032
00:51:43,000 --> 00:51:45,440
Speaker 1: and you know and and you know, God rest his soul,

1033
00:51:45,480 --> 00:51:49,279
Speaker 1: but Joe Diffy was having a really strong career um

1034
00:51:49,320 --> 00:51:51,680
Speaker 1: you know, in resurgence. And so these artists are able

1035
00:51:51,719 --> 00:51:54,120
Speaker 1: to have really, really long career. So, like I said,

1036
00:51:54,120 --> 00:51:56,040
Speaker 1: I don't want to see them evolve out. But I

1037
00:51:56,080 --> 00:52:00,760
Speaker 1: think it's important that we continue to elevate as an industry,

1038
00:52:01,040 --> 00:52:04,120
Speaker 1: elevate super superstars, because that is only that it's only

1039
00:52:04,160 --> 00:52:07,960
Speaker 1: healthy for our I think our genre in our format,

1040
00:52:08,000 --> 00:52:09,920
Speaker 1: because it continues to bring new audience in. You don't

1041
00:52:09,920 --> 00:52:12,840
Speaker 1: want our audience to completely age out. You want the

1042
00:52:12,960 --> 00:52:15,760
Speaker 1: younger audience to have an artist that they can champion

1043
00:52:15,800 --> 00:52:18,239
Speaker 1: the same way I think you and I where me

1044
00:52:18,320 --> 00:52:21,759
Speaker 1: specifically was champion you know, Garth Brooks at the time

1045
00:52:21,840 --> 00:52:23,239
Speaker 1: or Dwight Yo'll come at the time when it hit

1046
00:52:23,239 --> 00:52:24,759
Speaker 1: for me like these are those are the artists that

1047
00:52:24,760 --> 00:52:28,960
Speaker 1: I felt like I owned a little bit, you know. Um,

1048
00:52:29,000 --> 00:52:32,680
Speaker 1: and so you know see these young superstars, and you

1049
00:52:32,719 --> 00:52:35,279
Speaker 1: know there are artists that are now headline you know,

1050
00:52:35,360 --> 00:52:37,800
Speaker 1: Dan and Shay. You know that's not an overnight success

1051
00:52:38,680 --> 00:52:42,719
Speaker 1: superstars now, you know, and um, you know, kudas to

1052
00:52:42,880 --> 00:52:44,919
Speaker 1: kudos to it because it's not easy, you know, being

1053
00:52:44,920 --> 00:52:47,120
Speaker 1: in this industry, man, it is tough to get that level.

1054
00:52:47,120 --> 00:52:50,719
Speaker 1: It's easy. It maybe it's not even easy. But you

1055
00:52:50,760 --> 00:52:52,799
Speaker 1: can have a hit, you know, you can have a hit,

1056
00:52:52,920 --> 00:52:56,640
Speaker 1: but to impact, um, I think that's that's something that

1057
00:52:56,960 --> 00:52:59,040
Speaker 1: is that that's a difference, you know. And that's what

1058
00:52:59,120 --> 00:53:02,800
Speaker 1: you've seen in Hacked from you know, we said Gabby earlier,

1059
00:53:02,840 --> 00:53:06,120
Speaker 1: Gabby's having really strong impact right now with this one song.

1060
00:53:06,239 --> 00:53:10,799
Speaker 1: Now our challenge her challenge will be too back that up.

1061
00:53:10,880 --> 00:53:14,560
Speaker 1: But Chris Stapleton impact once he really kind of hit

1062
00:53:14,600 --> 00:53:16,800
Speaker 1: the scene. But again that was a grind for him.

1063
00:53:16,880 --> 00:53:19,759
Speaker 1: You know, I was there at Universal when you know,

1064
00:53:19,880 --> 00:53:23,720
Speaker 1: Chris sort of took his first step as a solo artist,

1065
00:53:23,760 --> 00:53:27,480
Speaker 1: if you will, UM in the kind of commercial country

1066
00:53:27,520 --> 00:53:30,560
Speaker 1: landscape and UM put out some great music. There was

1067
00:53:30,600 --> 00:53:32,359
Speaker 1: a single called what do You listening To? That it's

1068
00:53:32,360 --> 00:53:34,480
Speaker 1: still in a heavy rotation in the Lord Household, which

1069
00:53:34,520 --> 00:53:36,520
Speaker 1: is my household, just so you know, it's not Heaven.

1070
00:53:36,719 --> 00:53:39,719
Speaker 1: I'm referring to people that it could be playing up

1071
00:53:39,719 --> 00:53:43,160
Speaker 1: there also, but UM, you know, and to me, you

1072
00:53:43,239 --> 00:53:45,440
Speaker 1: had hoped and thought. And I think that's the thing

1073
00:53:45,520 --> 00:53:47,560
Speaker 1: with management that's a struggle, is that you know, you

1074
00:53:47,600 --> 00:53:51,920
Speaker 1: get attached to these artists and you just you it

1075
00:53:52,000 --> 00:53:54,279
Speaker 1: seems so obvious to you their talent and seems so

1076
00:53:54,360 --> 00:53:57,239
Speaker 1: obvious that they should succeed UM. And I think Chris,

1077
00:53:57,320 --> 00:53:59,120
Speaker 1: Chris Stapleton was one of those artists. When he first

1078
00:53:59,160 --> 00:54:00,359
Speaker 1: came through, it was like, well, this isn't a brainer.

1079
00:54:00,440 --> 00:54:06,200
Speaker 1: This guy's got it all, you know. And this this

1080
00:54:06,239 --> 00:54:08,120
Speaker 1: is about the time I met Chris, because I was

1081
00:54:08,120 --> 00:54:09,680
Speaker 1: having me on the show when the song came out.

1082
00:54:10,080 --> 00:54:11,960
Speaker 1: Well that you know, that's right, you went early the

1083
00:54:12,080 --> 00:54:14,280
Speaker 1: same thing you sold that to you know, early Champion

1084
00:54:14,360 --> 00:54:16,040
Speaker 1: loved him, was getting in trouble for putting him on

1085
00:54:16,040 --> 00:54:17,640
Speaker 1: the air because nobody had ever heard of him, like

1086
00:54:18,120 --> 00:54:22,280
Speaker 1: executives in in radio. Because I was being eyeballed hard

1087
00:54:22,719 --> 00:54:25,439
Speaker 1: every move because I was different at what I was doing,

1088
00:54:25,520 --> 00:54:27,480
Speaker 1: so like why are you doing this? And so we

1089
00:54:27,560 --> 00:54:29,399
Speaker 1: have a video of Chris because he come in four

1090
00:54:29,480 --> 00:54:32,560
Speaker 1: or five times early. And the first time I ever

1091
00:54:32,640 --> 00:54:33,920
Speaker 1: called him, I called him He's in the shower. He

1092
00:54:34,000 --> 00:54:35,719
Speaker 1: was like, hey, man, I'm in the shower. I call

1093
00:54:35,760 --> 00:54:37,719
Speaker 1: you right back. I was on the air. I was like, yeah, man,

1094
00:54:37,760 --> 00:54:39,920
Speaker 1: we'll call you back in a minute. And so he

1095
00:54:40,000 --> 00:54:42,160
Speaker 1: came in and he did a bunch of his hits,

1096
00:54:42,160 --> 00:54:44,920
Speaker 1: your man, Josh Turner. He did uh. He came back

1097
00:54:45,000 --> 00:54:46,880
Speaker 1: later to drink a beer from lout that he wrote.

1098
00:54:47,320 --> 00:54:51,160
Speaker 1: But I was like, this guy is so pure just

1099
00:54:51,280 --> 00:54:54,439
Speaker 1: as a as an artist. He probably not the most

1100
00:54:54,440 --> 00:54:57,719
Speaker 1: perfect singer, but he's the best in my mind. Like

1101
00:54:57,760 --> 00:55:00,360
Speaker 1: I was just moved by him. And and when he

1102
00:55:00,400 --> 00:55:03,120
Speaker 1: finally hit I was like, holy crap. And and again

1103
00:55:03,239 --> 00:55:05,720
Speaker 1: at the Staple thing, I've never seen anything album related

1104
00:55:06,000 --> 00:55:09,480
Speaker 1: like a half with Stapleton with with that album that

1105
00:55:09,600 --> 00:55:13,560
Speaker 1: had Tennessee whiskey and um, you know, whisking you and

1106
00:55:13,560 --> 00:55:16,239
Speaker 1: it said fire away, and you know that's that was

1107
00:55:16,400 --> 00:55:19,279
Speaker 1: the Traveler. I mean, it was parachute parachute with that record. Yeah,

1108
00:55:19,480 --> 00:55:21,680
Speaker 1: I have an album. Wise, I've seen nothing like that

1109
00:55:21,719 --> 00:55:24,480
Speaker 1: album since I've been in town, which is about eight

1110
00:55:24,520 --> 00:55:27,360
Speaker 1: years now, because it just stayed at number one. Yeah,

1111
00:55:27,520 --> 00:55:29,120
Speaker 1: it's still I think if you look on some of

1112
00:55:29,160 --> 00:55:31,440
Speaker 1: these streaming charts, it's still one of the top streamers,

1113
00:55:31,680 --> 00:55:34,360
Speaker 1: which is unbelievable at that But I think what the

1114
00:55:34,640 --> 00:55:36,520
Speaker 1: point I was making with him is that, you know,

1115
00:55:36,600 --> 00:55:40,200
Speaker 1: you you see some of these artists that you think, um,

1116
00:55:40,239 --> 00:55:41,799
Speaker 1: you know, it seemed no brainer, and that they can

1117
00:55:41,800 --> 00:55:43,560
Speaker 1: have their shot and that they're gonna you know, they're

1118
00:55:43,560 --> 00:55:46,680
Speaker 1: gonna have immediate impact, and and sometimes that it doesn't,

1119
00:55:46,760 --> 00:55:48,960
Speaker 1: you know, and sometimes it doesn't work for whatever reason.

1120
00:55:49,000 --> 00:55:51,399
Speaker 1: And I think, you know, not everybody sees and that's

1121
00:55:51,440 --> 00:55:53,680
Speaker 1: the It's sort of the beauty and also sort of

1122
00:55:53,680 --> 00:55:55,880
Speaker 1: the frustrating thing about music. It is it really is

1123
00:55:55,880 --> 00:55:58,439
Speaker 1: so subjective in so many ways. I Mean, there are

1124
00:55:58,480 --> 00:56:00,239
Speaker 1: songs that I hear on records that I go, my god,

1125
00:56:00,239 --> 00:56:03,440
Speaker 1: that's a hit, you know, and instead, you know, they

1126
00:56:03,480 --> 00:56:05,120
Speaker 1: really something else. I think that's not gonna work, and

1127
00:56:05,120 --> 00:56:06,719
Speaker 1: then it becomes a multi week number one. You know,

1128
00:56:06,760 --> 00:56:09,400
Speaker 1: it's we all have our opinions there, and UM, I

1129
00:56:09,440 --> 00:56:11,040
Speaker 1: think with with Chris, I thought that was going to

1130
00:56:11,120 --> 00:56:15,560
Speaker 1: hit immediately. And I have to imagine and he and

1131
00:56:15,600 --> 00:56:18,000
Speaker 1: I have not had a conversation about it, um, but

1132
00:56:18,120 --> 00:56:20,000
Speaker 1: I have to imagine that was really frustrating for him,

1133
00:56:20,040 --> 00:56:22,760
Speaker 1: you know, and but he stuck with it, and um,

1134
00:56:22,800 --> 00:56:24,680
Speaker 1: and then he made a record that, as you said,

1135
00:56:24,760 --> 00:56:27,040
Speaker 1: is really stood the test of time. And you know,

1136
00:56:27,120 --> 00:56:29,759
Speaker 1: that's Uh, that's what I get off on in this

1137
00:56:29,840 --> 00:56:33,600
Speaker 1: industry is seeing those artists succeed that really you know,

1138
00:56:33,680 --> 00:56:36,799
Speaker 1: that truly have that talent. And everybody has their own

1139
00:56:36,840 --> 00:56:39,640
Speaker 1: talent that bring to the table. But um, with him,

1140
00:56:39,680 --> 00:56:41,600
Speaker 1: it's been fun to see that kind of impact. And

1141
00:56:41,600 --> 00:56:43,640
Speaker 1: I think that's that when you asked about living the

1142
00:56:43,640 --> 00:56:45,319
Speaker 1: world of Luke Combs right now, and I don't work

1143
00:56:45,320 --> 00:56:47,560
Speaker 1: with Luke, but I'm seeing what what he's doing and that,

1144
00:56:48,200 --> 00:56:51,360
Speaker 1: you know, seeing what the impact that Chris had, I

1145
00:56:51,400 --> 00:56:53,160
Speaker 1: think it's important, like I said, for this format, we've

1146
00:56:53,200 --> 00:56:56,239
Speaker 1: got to continue to bring superstars to the stage. I'll

1147
00:56:56,320 --> 00:56:58,440
Speaker 1: end with this because your background is in music. You

1148
00:56:58,440 --> 00:57:01,080
Speaker 1: study music at Belmonts a business can so it's all

1149
00:57:01,120 --> 00:57:03,479
Speaker 1: been music. So what in the world will compel you

1150
00:57:04,600 --> 00:57:08,719
Speaker 1: to want to work with me because only one part

1151
00:57:08,719 --> 00:57:13,200
Speaker 1: of my business is music. Uh, I'd told you I

1152
00:57:13,280 --> 00:57:16,640
Speaker 1: sort of thrived in the chaos. Um. And I like

1153
00:57:17,080 --> 00:57:22,400
Speaker 1: the challenge of things. And I think for any manager,

1154
00:57:22,560 --> 00:57:24,240
Speaker 1: the worst thing that you can do is have a

1155
00:57:24,240 --> 00:57:26,920
Speaker 1: client that does not want it as much of you

1156
00:57:27,000 --> 00:57:30,000
Speaker 1: want as you want it for them. UM. And what

1157
00:57:30,080 --> 00:57:31,800
Speaker 1: I mean it is success. You know, there are a

1158
00:57:31,840 --> 00:57:34,680
Speaker 1: lot of artists that just sort of expect or clients

1159
00:57:34,720 --> 00:57:36,840
Speaker 1: or however you want to define them, that just expect

1160
00:57:36,920 --> 00:57:40,080
Speaker 1: success is going to happen, and they don't want to

1161
00:57:40,120 --> 00:57:41,960
Speaker 1: work for it necessarily or work as hard as you

1162
00:57:42,040 --> 00:57:46,000
Speaker 1: need them to work. Um. When we first worked together

1163
00:57:46,240 --> 00:57:49,840
Speaker 1: or started working together, UM, you know, I think you

1164
00:57:50,000 --> 00:57:54,320
Speaker 1: challenged all of us internally, UM, in in sort of

1165
00:57:54,400 --> 00:57:57,840
Speaker 1: laying out what your goals were. UM. And it wasn't

1166
00:57:58,520 --> 00:58:02,040
Speaker 1: just to be status quo um. And it was to elevate,

1167
00:58:02,080 --> 00:58:03,800
Speaker 1: and it was to write a book, and it was

1168
00:58:03,880 --> 00:58:05,560
Speaker 1: to have a TV show, and it was I mean

1169
00:58:05,560 --> 00:58:09,120
Speaker 1: you you've always aspired for more, and you know that's

1170
00:58:09,160 --> 00:58:13,840
Speaker 1: a big part of your personality and that really enthusisam

1171
00:58:13,880 --> 00:58:18,360
Speaker 1: you know that ignited me, I think is where I

1172
00:58:18,360 --> 00:58:20,240
Speaker 1: was going with it. I think I was drawn to

1173
00:58:21,480 --> 00:58:25,960
Speaker 1: your desire to keep growing. And um, I like to

1174
00:58:26,000 --> 00:58:29,200
Speaker 1: think that we have a um a fit just personality wise,

1175
00:58:29,240 --> 00:58:31,440
Speaker 1: like I just liked you. I liked you as a

1176
00:58:31,480 --> 00:58:33,400
Speaker 1: person and wanted to see you succeed and I got

1177
00:58:33,400 --> 00:58:35,960
Speaker 1: it like I understood it like and I I don't know.

1178
00:58:36,040 --> 00:58:38,440
Speaker 1: That's what really compelled me to work with you, is

1179
00:58:38,480 --> 00:58:41,120
Speaker 1: seeing your drive to see you want to succeed and

1180
00:58:41,520 --> 00:58:43,520
Speaker 1: you're not satisfied with the status quo and you want

1181
00:58:43,520 --> 00:58:46,480
Speaker 1: to try different things and that just keeps me growing too.

1182
00:58:46,920 --> 00:58:50,160
Speaker 1: Um And I think that has for me been a

1183
00:58:50,240 --> 00:58:55,120
Speaker 1: personally rewarding and professionally rewarding. Let me shout out Tom

1184
00:58:55,160 --> 00:58:58,320
Speaker 1: Betchy case he's listening, because you and Tom are are

1185
00:58:58,440 --> 00:59:02,280
Speaker 1: both my direct guys. And so you come from a

1186
00:59:02,360 --> 00:59:06,000
Speaker 1: creative music background where he's a business guy. And have

1187
00:59:06,080 --> 00:59:08,680
Speaker 1: you ever worked directly with Tom and till me, yeah.

1188
00:59:08,720 --> 00:59:10,960
Speaker 1: In fact, so we were at Universal together he came

1189
00:59:11,000 --> 00:59:12,880
Speaker 1: and when we merged together, when I was at Mercury

1190
00:59:12,960 --> 00:59:18,920
Speaker 1: m c A, he was um CEO of em I Capital,

1191
00:59:19,440 --> 00:59:21,440
Speaker 1: and we merged together and so for a year we

1192
00:59:21,480 --> 00:59:25,360
Speaker 1: worked together, um, but never directly like he was sort

1193
00:59:25,400 --> 00:59:27,600
Speaker 1: of more on the business side. He was running the

1194
00:59:27,640 --> 00:59:31,280
Speaker 1: operations and doing the books and working on payroll and

1195
00:59:32,320 --> 00:59:34,880
Speaker 1: working on the artist agreements, and it was all more

1196
00:59:35,000 --> 00:59:37,880
Speaker 1: legally stuff and I was more in this other sort

1197
00:59:37,880 --> 00:59:41,280
Speaker 1: of creative world where it's marketing and marketing campaigns and

1198
00:59:41,360 --> 00:59:46,040
Speaker 1: bigger strategy and content creation and etcetera, etcetera. Um, but

1199
00:59:46,280 --> 00:59:48,480
Speaker 1: we always had a mutual respect. And when he joined

1200
00:59:48,480 --> 00:59:50,760
Speaker 1: a Red Light after me, I'd like to think he

1201
00:59:50,800 --> 00:59:55,520
Speaker 1: followed me there. Um when he joined, uh, we both

1202
00:59:55,600 --> 00:59:58,080
Speaker 1: had a role at Red Light that was different than others.

1203
00:59:58,160 --> 01:00:00,960
Speaker 1: He was helping with more the operational stuff and I

1204
01:00:01,000 --> 01:00:02,720
Speaker 1: was helping more the creative stuff. And so we just

1205
01:00:02,760 --> 01:00:07,040
Speaker 1: found ourselves working together. And UM, I think that's what

1206
01:00:07,080 --> 01:00:09,680
Speaker 1: you wanted a management team. Is are people in your

1207
01:00:09,680 --> 01:00:12,880
Speaker 1: team that complement each other? And you know you described it.

1208
01:00:12,960 --> 01:00:16,600
Speaker 1: He brings strength to the table that I don't have

1209
01:00:16,840 --> 01:00:20,439
Speaker 1: far more. I wouldn't say far more, far more strengths more,

1210
01:00:20,880 --> 01:00:23,880
Speaker 1: I wouldn't. I mean, I wouldn't put it that way.

1211
01:00:23,960 --> 01:00:27,720
Speaker 1: I think he has some Um, but and I have

1212
01:00:27,760 --> 01:00:29,840
Speaker 1: other strengths, and I think we work really well together

1213
01:00:29,880 --> 01:00:32,720
Speaker 1: in that way. And I'll mention Morgan too, who came

1214
01:00:32,760 --> 01:00:34,880
Speaker 1: from radio and is now the position you talked about

1215
01:00:34,880 --> 01:00:37,600
Speaker 1: when someone gets into management. She is my day to day.

1216
01:00:37,720 --> 01:00:40,400
Speaker 1: You know, she's watching the calendar, she's you know, really

1217
01:00:40,640 --> 01:00:43,720
Speaker 1: making sure daily what's happening with me and enforcing at

1218
01:00:43,800 --> 01:00:47,600
Speaker 1: times and so and I assume Morgan has been good.

1219
01:00:47,640 --> 01:00:49,919
Speaker 1: I mean I see branching out a bit too. Yeah,

1220
01:00:50,000 --> 01:00:53,720
Speaker 1: Morgan has been great. And um, that was an interesting

1221
01:00:54,520 --> 01:00:56,400
Speaker 1: search for us because we were looking for somebody to

1222
01:00:56,760 --> 01:01:01,160
Speaker 1: be in that role and we saw the relationship and

1223
01:01:01,360 --> 01:01:04,160
Speaker 1: that sort of the evolution of Morgan in that she

1224
01:01:04,400 --> 01:01:06,680
Speaker 1: worked with you from an assistant level and sort of

1225
01:01:07,520 --> 01:01:12,000
Speaker 1: insistence phone screener, and she had sort of sort of

1226
01:01:12,200 --> 01:01:15,880
Speaker 1: evolved with you and grown with you. That. Um, we

1227
01:01:15,880 --> 01:01:18,680
Speaker 1: were lucky that we could sort of put her into

1228
01:01:18,720 --> 01:01:20,520
Speaker 1: that role and that she was willing to come into

1229
01:01:20,560 --> 01:01:23,000
Speaker 1: that role. And she's she's been great, and you know,

1230
01:01:23,080 --> 01:01:25,400
Speaker 1: she's learned the ropes quickly. And I think that was

1231
01:01:25,440 --> 01:01:27,080
Speaker 1: you know, that was the one thing that you said,

1232
01:01:27,080 --> 01:01:29,640
Speaker 1: how does somebody get into management? It is a learnable task.

1233
01:01:29,760 --> 01:01:32,360
Speaker 1: I mean there there are skill sets that come into

1234
01:01:32,400 --> 01:01:35,520
Speaker 1: it that I think you know that you you either

1235
01:01:35,560 --> 01:01:38,240
Speaker 1: have or you don't UM just from a personality trade.

1236
01:01:38,400 --> 01:01:40,640
Speaker 1: But you know you can learn the business. You learn

1237
01:01:40,720 --> 01:01:43,000
Speaker 1: any business, you know. I do think that there's some

1238
01:01:43,160 --> 01:01:45,640
Speaker 1: talents that you may not be able to master. Songwritings.

1239
01:01:45,640 --> 01:01:47,040
Speaker 1: One you can learn how to write a song and

1240
01:01:47,040 --> 01:01:51,240
Speaker 1: doesn't make you great at it. I've tried before UM,

1241
01:01:51,280 --> 01:01:54,640
Speaker 1: but Morgan has been a huge addition I think to

1242
01:01:54,680 --> 01:01:57,200
Speaker 1: this team and UM where we'd like to see her

1243
01:01:57,200 --> 01:01:58,880
Speaker 1: grow and that and I think that just makes us

1244
01:01:58,880 --> 01:02:02,360
Speaker 1: a stronger management company. If we can enable these folks

1245
01:02:02,400 --> 01:02:06,920
Speaker 1: that work within our red Light structure to UM, to

1246
01:02:07,120 --> 01:02:09,400
Speaker 1: work with other artists and to learn, that's going to

1247
01:02:09,480 --> 01:02:11,640
Speaker 1: make us a stronger management company across the board. As

1248
01:02:11,640 --> 01:02:14,920
Speaker 1: we wrap it up, the last couple of sprinkles will

1249
01:02:14,960 --> 01:02:17,200
Speaker 1: add the cupcake here that if you want me to

1250
01:02:17,240 --> 01:02:19,120
Speaker 1: ever hear a song, you have to get it to Tom,

1251
01:02:19,160 --> 01:02:27,080
Speaker 1: not to me. Let's not encourage that heart radio how

1252
01:02:27,080 --> 01:02:31,760
Speaker 1: many times a week to somebody at least reference you

1253
01:02:32,360 --> 01:02:36,960
Speaker 1: working with me for their benefit. It is, it's it's

1254
01:02:37,040 --> 01:02:40,360
Speaker 1: it's growing. By the day I've had I've had a

1255
01:02:40,400 --> 01:02:44,520
Speaker 1: couple within the last seven days that have been hey, um,

1256
01:02:44,600 --> 01:02:47,280
Speaker 1: you work with Bobby right, And I said, yeah, yeah,

1257
01:02:47,600 --> 01:02:51,800
Speaker 1: so you can you get him this record? You know?

1258
01:02:51,840 --> 01:02:54,800
Speaker 1: And and I think again, it's the relationship that a

1259
01:02:55,120 --> 01:02:58,600
Speaker 1: manager and incline or artists have is a trust thing.

1260
01:02:58,640 --> 01:03:00,960
Speaker 1: Like there's our relations and ship is built in a

1261
01:03:01,000 --> 01:03:03,000
Speaker 1: different way. It's built on me working with you in

1262
01:03:03,040 --> 01:03:05,520
Speaker 1: your career. I'm not in the programming business with you.

1263
01:03:05,560 --> 01:03:07,320
Speaker 1: I'm not in the radio business with you, and I

1264
01:03:07,320 --> 01:03:10,200
Speaker 1: don't pretend to be and I would never. And I

1265
01:03:10,200 --> 01:03:11,640
Speaker 1: think that's a part of what you have to balance

1266
01:03:11,680 --> 01:03:14,240
Speaker 1: as a manager is that you can't you can't have

1267
01:03:14,440 --> 01:03:19,840
Speaker 1: use that relationship. Um, if you know, if if it's

1268
01:03:19,840 --> 01:03:22,360
Speaker 1: not right, it's not right for me or for people

1269
01:03:22,400 --> 01:03:26,080
Speaker 1: to sort of assume that I can influence you. Well

1270
01:03:26,120 --> 01:03:29,000
Speaker 1: you can, you do well. We have conversation about artists.

1271
01:03:29,040 --> 01:03:30,360
Speaker 1: I think you know the way we we do. You know,

1272
01:03:30,400 --> 01:03:33,480
Speaker 1: there's some artists that I've championed and you've said, man,

1273
01:03:33,600 --> 01:03:35,200
Speaker 1: I'd really like that artist the same way you do

1274
01:03:35,280 --> 01:03:36,480
Speaker 1: for me. You come to me and say, hey, may

1275
01:03:36,520 --> 01:03:37,960
Speaker 1: what do you think of this artist? And you know,

1276
01:03:38,000 --> 01:03:41,560
Speaker 1: and I discover artists that way. Too. Um, but yeah,

1277
01:03:41,560 --> 01:03:43,120
Speaker 1: I try to respect that with you. It's like I

1278
01:03:43,280 --> 01:03:46,800
Speaker 1: can't be I'm not a radio rep and trying to

1279
01:03:46,840 --> 01:03:49,720
Speaker 1: get you know, everybody's singles played on the radio and

1280
01:03:49,880 --> 01:03:52,640
Speaker 1: influence you, and I try to respect that with you.

1281
01:03:53,760 --> 01:03:55,400
Speaker 1: I can think you like to ask Tom before wrap

1282
01:03:55,440 --> 01:03:59,400
Speaker 1: it up. I feel enlightened you. I'm sure you do again.

1283
01:03:59,400 --> 01:04:02,040
Speaker 1: This could be the was Consumed podcast. I don't know

1284
01:04:02,080 --> 01:04:05,720
Speaker 1: what the records are. Um, we're well over under for

1285
01:04:05,720 --> 01:04:10,000
Speaker 1: this is seven stream, yes literally seven Okay, that's mom,

1286
01:04:10,720 --> 01:04:14,600
Speaker 1: it's me listening back three times. It's Stephanie, my wife.

1287
01:04:15,120 --> 01:04:17,360
Speaker 1: The big takeaway here is much like everything else in

1288
01:04:17,400 --> 01:04:19,840
Speaker 1: the music industry, there isn't an exact key that goes

1289
01:04:19,880 --> 01:04:22,560
Speaker 1: into the exact hole. You kind of gotta figure it

1290
01:04:22,600 --> 01:04:25,840
Speaker 1: out by by Jimmy and the locks. Sometimes you do

1291
01:04:25,920 --> 01:04:27,920
Speaker 1: and follow up, and whether it's the music industry or

1292
01:04:27,920 --> 01:04:30,240
Speaker 1: anything else, it's just following your passion. Listen, that's the

1293
01:04:30,280 --> 01:04:34,120
Speaker 1: reason I'm in And it's not because I just was

1294
01:04:34,160 --> 01:04:37,040
Speaker 1: looking for a gig, um, you know, for me coming

1295
01:04:37,040 --> 01:04:39,160
Speaker 1: out of high school. I'm good. I'm glad we can

1296
01:04:39,160 --> 01:04:41,280
Speaker 1: extend the time here. Sorry, guys, I'm gonna take another

1297
01:04:41,280 --> 01:04:45,880
Speaker 1: hour here. But UM, you know, at eighteen years old,

1298
01:04:45,960 --> 01:04:48,560
Speaker 1: you're sort of faced with in life to decide what

1299
01:04:48,640 --> 01:04:49,600
Speaker 1: do you want to do with the restaurant life, what

1300
01:04:49,600 --> 01:04:50,600
Speaker 1: do you want a major in? What do you want

1301
01:04:50,600 --> 01:04:52,760
Speaker 1: to become? And for me, it was I was playing

1302
01:04:52,800 --> 01:04:55,680
Speaker 1: baseball and I knew my skill set was not enough

1303
01:04:55,720 --> 01:04:57,880
Speaker 1: to take me to the major leagues. And I was

1304
01:04:57,920 --> 01:04:59,720
Speaker 1: playing in bands, I was playing music. I just loved it,

1305
01:04:59,760 --> 01:05:01,480
Speaker 1: but I new again that I didn't necessarily have the

1306
01:05:01,480 --> 01:05:06,680
Speaker 1: skill to to be a full time musician. And that's

1307
01:05:06,680 --> 01:05:11,000
Speaker 1: when I learned about, you know, music business, and UM,

1308
01:05:11,040 --> 01:05:13,000
Speaker 1: I went to Belmont University. I walked on for the

1309
01:05:13,040 --> 01:05:15,640
Speaker 1: baseball team, made the team for a couple of months

1310
01:05:16,040 --> 01:05:19,160
Speaker 1: for semester. I'll give myself a little more credit um

1311
01:05:19,280 --> 01:05:22,000
Speaker 1: as a walk on. And then UM started major in

1312
01:05:22,080 --> 01:05:24,840
Speaker 1: music business. And I just was enamored with it and

1313
01:05:24,840 --> 01:05:26,760
Speaker 1: I just love it and I still do today, Like

1314
01:05:26,800 --> 01:05:29,760
Speaker 1: I still get fired up about music. I still love songs.

1315
01:05:29,840 --> 01:05:33,120
Speaker 1: I still and I and I get so much enjoyment

1316
01:05:33,120 --> 01:05:35,320
Speaker 1: out of seeing artists succeeds. So I guess that my

1317
01:05:35,320 --> 01:05:38,120
Speaker 1: my point in all of that is, you know, if

1318
01:05:38,160 --> 01:05:40,440
Speaker 1: if music is your passion, man follow it, you know,

1319
01:05:40,640 --> 01:05:43,480
Speaker 1: or whatever it is. And there are so many opportunities

1320
01:05:43,480 --> 01:05:46,680
Speaker 1: in life, um that I don't know that I really

1321
01:05:46,760 --> 01:05:50,400
Speaker 1: ever knew of, you know, interior design or you know,

1322
01:05:50,840 --> 01:05:53,000
Speaker 1: whatever it may be. You know, for me, it was

1323
01:05:53,040 --> 01:05:56,960
Speaker 1: like you can be a doctor, a business salesman, an attorney,

1324
01:05:57,040 --> 01:05:58,320
Speaker 1: or a teacher. You know. It's like I don't know,

1325
01:05:58,400 --> 01:06:01,080
Speaker 1: like that's all I really knew of. And man, there's

1326
01:06:01,080 --> 01:06:04,640
Speaker 1: so many opportunities out there. Um, But it starts with

1327
01:06:04,760 --> 01:06:10,240
Speaker 1: finding your passion. And I feel so lucky and blessed

1328
01:06:11,200 --> 01:06:12,760
Speaker 1: to be doing what I'm doing because I just don't

1329
01:06:12,800 --> 01:06:14,680
Speaker 1: know what else I do. You know that fulfills me.

1330
01:06:14,760 --> 01:06:17,640
Speaker 1: The Entertainer of the Year this year is the last question?

1331
01:06:17,920 --> 01:06:21,520
Speaker 1: Who wins Entertainer of Year? Of them? As? If I'm

1332
01:06:21,520 --> 01:06:26,200
Speaker 1: going from memory here it's Eric Church, Carrie Underwood, Luke Combs,

1333
01:06:27,680 --> 01:06:31,920
Speaker 1: Keith Urban, Miranda Lambert. I believe from memory that's the five.

1334
01:06:32,440 --> 01:06:35,240
Speaker 1: It's pretty good. I think you may be run. I

1335
01:06:35,360 --> 01:06:44,880
Speaker 1: just voted you did, okay, Um, I just voted. Oh

1336
01:06:45,040 --> 01:06:47,120
Speaker 1: who wins? It's a tough one. It's a tough one

1337
01:06:47,160 --> 01:06:49,160
Speaker 1: because and I'll you don't agree, you have to give

1338
01:06:49,160 --> 01:06:51,680
Speaker 1: with what I'm saying I think Luke Combs probably should win.

1339
01:06:52,760 --> 01:06:56,320
Speaker 1: I think that this community sometimes penalizes people for being

1340
01:06:56,600 --> 01:06:59,040
Speaker 1: too big, too fast, like hey, wait your t you

1341
01:06:59,080 --> 01:07:02,120
Speaker 1: saw that with Dan and I agree? Um, did you say,

1342
01:07:02,160 --> 01:07:05,720
Speaker 1: Miranda Lambert, I did I think Luke Hombs should win?

1343
01:07:06,960 --> 01:07:11,080
Speaker 1: I tell you I voted for Carrie Um because I

1344
01:07:11,120 --> 01:07:15,360
Speaker 1: feel like just she deserves that. There's no there's and

1345
01:07:15,400 --> 01:07:17,440
Speaker 1: for me, there's no identify or what entertainer of the

1346
01:07:17,480 --> 01:07:23,960
Speaker 1: year means other than entertained me. So TV uh, sketch, comedy, Instagram,

1347
01:07:24,040 --> 01:07:28,200
Speaker 1: your radio, hits, your tour, that full encompassing entertainment is

1348
01:07:28,240 --> 01:07:30,600
Speaker 1: what that is to me. And that is why I

1349
01:07:30,640 --> 01:07:33,080
Speaker 1: voted for Carry because to me, she's the most that

1350
01:07:33,800 --> 01:07:36,479
Speaker 1: she had the radio success Luke Combs does, at least

1351
01:07:36,480 --> 01:07:39,640
Speaker 1: not last year or the last two years. But there's

1352
01:07:39,640 --> 01:07:42,600
Speaker 1: no wrong answer because there if Eric Church, why don't

1353
01:07:42,600 --> 01:07:45,280
Speaker 1: you go I get it. That's where I was gonna

1354
01:07:45,280 --> 01:07:46,640
Speaker 1: go with it. Is like, Man, I don't think there's

1355
01:07:46,640 --> 01:07:48,040
Speaker 1: a wrong vote there. And I know this is such

1356
01:07:48,040 --> 01:07:50,200
Speaker 1: a political answer, but I sort of live in a

1357
01:07:50,200 --> 01:07:53,000
Speaker 1: political world and in my business, but there's no wrong

1358
01:07:53,040 --> 01:07:55,680
Speaker 1: answer to that vote. And the reason because I think

1359
01:07:55,720 --> 01:08:00,440
Speaker 1: they all deserve it for different reasons. Luke Hombs don't agree.

1360
01:08:00,800 --> 01:08:03,800
Speaker 1: Probably on paper right now, if it was stat based,

1361
01:08:04,160 --> 01:08:06,040
Speaker 1: little Collins had drawn away with deserves it and I

1362
01:08:06,040 --> 01:08:08,840
Speaker 1: don't think anybody would go. But I do think you're right.

1363
01:08:08,960 --> 01:08:13,360
Speaker 1: People reward people, or or the voters reward artists that

1364
01:08:13,440 --> 01:08:17,240
Speaker 1: have also put in more time. Um, and I have

1365
01:08:17,360 --> 01:08:19,400
Speaker 1: to say what I what Eric Church has done over

1366
01:08:19,439 --> 01:08:22,240
Speaker 1: the last couple of years years blows my mind. You

1367
01:08:22,240 --> 01:08:24,360
Speaker 1: know that he plays a three and a half four

1368
01:08:24,439 --> 01:08:27,360
Speaker 1: hours set by himself. You know it has three different

1369
01:08:27,400 --> 01:08:29,280
Speaker 1: like he plays a full band show, then breaks it

1370
01:08:29,280 --> 01:08:31,120
Speaker 1: down and does an acoustic set and then comes back out.

1371
01:08:31,160 --> 01:08:32,960
Speaker 1: I mean, you wouldn't talk about Entertainer of the year

1372
01:08:32,960 --> 01:08:36,400
Speaker 1: if it's based on that. That's that's a lot of work.

1373
01:08:36,680 --> 01:08:39,040
Speaker 1: And some people do based on touring and how entertainment

1374
01:08:39,040 --> 01:08:42,920
Speaker 1: you are live. That is and that's fair, that is correct. Um.

1375
01:08:43,000 --> 01:08:45,920
Speaker 1: Carrie Underwood, who has been hit after hit after hit

1376
01:08:46,040 --> 01:08:49,200
Speaker 1: consistent and when you talk about entertainment, I mean her

1377
01:08:49,720 --> 01:08:51,840
Speaker 1: styling and her graphics, I mean all of that. I

1378
01:08:51,840 --> 01:08:56,439
Speaker 1: think again deserves it. Miranda Lambert, don't count her out

1379
01:08:56,479 --> 01:09:02,400
Speaker 1: because that's another one who has consistently been a stalwarth

1380
01:09:02,640 --> 01:09:05,800
Speaker 1: with in this industry and continue to have success. But

1381
01:09:06,439 --> 01:09:08,720
Speaker 1: also what I've seen with her is we lift up

1382
01:09:08,720 --> 01:09:12,200
Speaker 1: other artists and I and I think that is recognized

1383
01:09:12,240 --> 01:09:15,800
Speaker 1: by the industry. Um, I've gotten. We could have a

1384
01:09:15,800 --> 01:09:18,400
Speaker 1: whole another conversation about voting and who to vote for

1385
01:09:18,479 --> 01:09:19,920
Speaker 1: and wanting to vote for him, because I think that's

1386
01:09:19,920 --> 01:09:22,519
Speaker 1: what I've sort of argued. And this is a little

1387
01:09:22,520 --> 01:09:24,640
Speaker 1: bit in our backyard red light that is. But like

1388
01:09:24,680 --> 01:09:26,960
Speaker 1: with Luke, Luke Bryan and a reference him again earlier

1389
01:09:27,200 --> 01:09:30,800
Speaker 1: where I think Luke Brian has been that artist you know,

1390
01:09:30,840 --> 01:09:33,120
Speaker 1: and everybody said, well, you gotta vote for Garth Brooks.

1391
01:09:33,120 --> 01:09:35,080
Speaker 1: He sales more tickets. I get it. I get it.

1392
01:09:35,720 --> 01:09:38,760
Speaker 1: Garth who nobody can deny Garths you know, reason for

1393
01:09:38,800 --> 01:09:41,280
Speaker 1: winning Entertainer Year, and I think, well deserved. But from

1394
01:09:41,400 --> 01:09:44,519
Speaker 1: Luke who entertains people with consistent singles at radio, I

1395
01:09:44,520 --> 01:09:49,360
Speaker 1: mean consistent number one singles at radio. Um, amazing. Just

1396
01:09:49,760 --> 01:09:53,320
Speaker 1: entertainer and personality America, That's where I was going to go.

1397
01:09:53,520 --> 01:09:56,080
Speaker 1: You want to talk about entertainer. That's why I carry

1398
01:09:56,080 --> 01:09:59,000
Speaker 1: has my vote. Yeah, but again, there isn't a specific

1399
01:09:59,080 --> 01:10:01,200
Speaker 1: rule that dives into why you should vote for a

1400
01:10:01,240 --> 01:10:04,200
Speaker 1: single person that is correct. It's almost like obscenity by

1401
01:10:04,240 --> 01:10:06,920
Speaker 1: the STC. There is no rule on what's obscene. It's

1402
01:10:06,960 --> 01:10:09,840
Speaker 1: just whatever your community feels is what it is. And

1403
01:10:09,880 --> 01:10:13,000
Speaker 1: if they get irritated and they complained, then we may

1404
01:10:13,040 --> 01:10:16,320
Speaker 1: find you just give us a rule here. Totally right,

1405
01:10:16,360 --> 01:10:19,880
Speaker 1: there's no there that's you wish that there was a

1406
01:10:19,920 --> 01:10:22,960
Speaker 1: more specific benchmark to it. I mean, it's overall entertainment.

1407
01:10:22,960 --> 01:10:26,040
Speaker 1: What does that? How do you define that? Um? And

1408
01:10:26,080 --> 01:10:28,600
Speaker 1: that's why for me, I've sort have been standing on

1409
01:10:28,840 --> 01:10:31,519
Speaker 1: the box for you know, Luke Bryan, for I agree,

1410
01:10:31,520 --> 01:10:33,880
Speaker 1: he got screwed over. Yeah, and the last couple of

1411
01:10:33,920 --> 01:10:36,479
Speaker 1: years he continued just want too much of telling her

1412
01:10:36,520 --> 01:10:39,080
Speaker 1: he want too many things too. He got Angelia Joeliet,

1413
01:10:39,240 --> 01:10:41,160
Speaker 1: they start taking her off front of magazines because she

1414
01:10:41,200 --> 01:10:44,080
Speaker 1: was winning every hot award, and then nobody wanted to

1415
01:10:44,080 --> 01:10:46,160
Speaker 1: do with her because she was plastered all over everything else.

1416
01:10:46,600 --> 01:10:49,519
Speaker 1: And I think Luke had to suffer his success. I

1417
01:10:49,520 --> 01:10:54,920
Speaker 1: think you're right. I think you're right, and you know,

1418
01:10:55,320 --> 01:10:57,200
Speaker 1: at the same time, I like to see new names

1419
01:10:57,240 --> 01:10:59,920
Speaker 1: in the category. So Luke Combs, let's you know, let's

1420
01:11:00,160 --> 01:11:04,400
Speaker 1: Luke the other Luke took Luke spot. Let's say, you know,

1421
01:11:04,560 --> 01:11:06,240
Speaker 1: you can't take that away from him. He deserves it

1422
01:11:06,280 --> 01:11:08,080
Speaker 1: to absolutely. I think Dan and Shay could have put

1423
01:11:08,160 --> 01:11:09,599
Speaker 1: up there. I think Dan and Shay could. You're talking

1424
01:11:09,600 --> 01:11:11,320
Speaker 1: about people that are getting scored over a little bit

1425
01:11:11,320 --> 01:11:13,679
Speaker 1: in awards because awards are very political. I think Florida

1426
01:11:13,720 --> 01:11:19,000
Speaker 1: Georgia Line gets get their massive they can they put

1427
01:11:19,000 --> 01:11:24,440
Speaker 1: out such quality as far as generally people love it,

1428
01:11:25,200 --> 01:11:29,639
Speaker 1: and they're not recognized by the community of voters as

1429
01:11:29,720 --> 01:11:32,439
Speaker 1: much as they should be. I totally that was the

1430
01:11:32,479 --> 01:11:35,240
Speaker 1: example that was in my head too, and I have

1431
01:11:37,040 --> 01:11:41,880
Speaker 1: champion them for a bit too, because they there's you know,

1432
01:11:41,920 --> 01:11:45,240
Speaker 1: there's some great duos um. I think Brothers Osborne who's amazing,

1433
01:11:45,320 --> 01:11:47,960
Speaker 1: and you know, the industry really loves and has champion them.

1434
01:11:48,000 --> 01:11:50,400
Speaker 1: Dan and Shay hard to argue that they shouldn't win

1435
01:11:50,479 --> 01:11:53,080
Speaker 1: now two because of the success that they've had. But

1436
01:11:53,560 --> 01:11:57,920
Speaker 1: prior to them and even sort of um compared to

1437
01:11:58,040 --> 01:12:00,599
Speaker 1: Brothers Osborne, Florida Georgia Line was put up the numbers.

1438
01:12:00,960 --> 01:12:03,320
Speaker 1: They were putting up the numbers, whether it's touring, whether

1439
01:12:03,360 --> 01:12:05,920
Speaker 1: it's the radio hits, the consumption numbers. You know, Meant

1440
01:12:05,920 --> 01:12:08,479
Speaker 1: to Be was one of the most consumed song Cruise,

1441
01:12:08,560 --> 01:12:10,160
Speaker 1: for God's sake, it was, you know, one of the

1442
01:12:10,160 --> 01:12:12,559
Speaker 1: most consumed songs in the history of country music. But

1443
01:12:13,800 --> 01:12:17,360
Speaker 1: whatever reason, wasn't getting the vote. And so you're right,

1444
01:12:17,400 --> 01:12:22,280
Speaker 1: it's it's it's not always who deserves to win. UM.

1445
01:12:22,320 --> 01:12:24,479
Speaker 1: But again that's a little subjective to as we just

1446
01:12:24,479 --> 01:12:26,719
Speaker 1: saw a subjective. If it wasn't subjective, i'd be hosting

1447
01:12:26,720 --> 01:12:31,799
Speaker 1: the c m A. But it's all subjective, all right, Sarah,

1448
01:12:31,920 --> 01:12:34,479
Speaker 1: tom Lord, thank you very much. It's this is We've

1449
01:12:34,479 --> 01:12:36,479
Speaker 1: been here for seven hours. Wow. Who knew I've asked

1450
01:12:36,720 --> 01:12:40,280
Speaker 1: I've asked you only two questions. It felt it felt

1451
01:12:40,320 --> 01:12:44,360
Speaker 1: every bit of all right, thank you, thank you. Jamie Lynn.

1452
01:12:45,080 --> 01:12:47,800
Speaker 1: How are you? I'm good? Are doing I'm good. I

1453
01:12:47,840 --> 01:12:50,200
Speaker 1: was watching some of your Instagram story today and I

1454
01:12:50,240 --> 01:12:53,559
Speaker 1: was flipping through Instagram in general. You are everywhere today.

1455
01:12:53,680 --> 01:12:56,360
Speaker 1: You're on Ryan, you were on Ryan Show, Seacrest. I

1456
01:12:56,400 --> 01:12:59,000
Speaker 1: saw you on like three different news shows, is today

1457
01:12:59,200 --> 01:13:01,400
Speaker 1: or yesterday? And a big press days for Zoe one

1458
01:13:01,439 --> 01:13:04,439
Speaker 1: on one. UM. I honestly I'm so lost in it.

1459
01:13:04,520 --> 01:13:08,759
Speaker 1: I know the video releases today like the special video

1460
01:13:08,800 --> 01:13:11,920
Speaker 1: comes out for everyone today on my YouTube. So I think, yeah,

1461
01:13:11,920 --> 01:13:14,559
Speaker 1: I think today is a big push. You're everywhere, You're

1462
01:13:14,640 --> 01:13:17,680
Speaker 1: everywhere I look right now. That's that's pretty cool. So congratulations,

1463
01:13:17,840 --> 01:13:21,519
Speaker 1: thank you, well, congratulations to you too. I'm so happy

1464
01:13:21,600 --> 01:13:23,320
Speaker 1: for you. When I saw that, I was like, oh

1465
01:13:23,360 --> 01:13:27,200
Speaker 1: my gosh, you did it. Jamie lefked on me that

1466
01:13:27,280 --> 01:13:29,880
Speaker 1: she had a dream I had. I was having babies already,

1467
01:13:30,560 --> 01:13:32,799
Speaker 1: kid and but this was like, I don't know, maybe

1468
01:13:32,840 --> 01:13:34,800
Speaker 1: two or three weeks ago, I can't remember, and I

1469
01:13:34,840 --> 01:13:37,000
Speaker 1: just it's just you had a baby, and you were

1470
01:13:37,040 --> 01:13:38,920
Speaker 1: like you were happy over you know, like dreams, you

1471
01:13:39,000 --> 01:13:41,799
Speaker 1: kind of remember business pieces, but the overall feeling was happy.

1472
01:13:41,880 --> 01:13:43,439
Speaker 1: It was it was not like a bad thing. It

1473
01:13:43,520 --> 01:13:45,519
Speaker 1: was like a good thing. And I was just like,

1474
01:13:45,560 --> 01:13:47,360
Speaker 1: that's so strange. Maybe so I was listening on the

1475
01:13:47,439 --> 01:13:49,280
Speaker 1: radio when my kids screaming. I don't know. Maybe that's

1476
01:13:49,280 --> 01:13:52,800
Speaker 1: why dream about it. I appreciate that. Anytime anybody says

1477
01:13:52,880 --> 01:13:55,080
Speaker 1: or thinks anything good about me, I appreciate. So before

1478
01:13:55,080 --> 01:13:56,519
Speaker 1: we get into the Zoe one on one stuff, I

1479
01:13:56,600 --> 01:13:58,920
Speaker 1: just want to reset my audience for a second, because

1480
01:13:58,960 --> 01:14:01,320
Speaker 1: I think you are such a talented songwriter and such

1481
01:14:01,360 --> 01:14:04,439
Speaker 1: a talented performer aside from Zoe one on one, because

1482
01:14:04,479 --> 01:14:06,439
Speaker 1: maybe some folks they're on the young side of it

1483
01:14:06,520 --> 01:14:08,040
Speaker 1: or on the older side of it, didn't catch it.

1484
01:14:08,080 --> 01:14:09,280
Speaker 1: So what I want to do is brag on you

1485
01:14:09,320 --> 01:14:11,880
Speaker 1: for one second before we talk about that. And the

1486
01:14:11,960 --> 01:14:15,200
Speaker 1: song that Jamie Lynn came into my studio to play

1487
01:14:15,240 --> 01:14:17,000
Speaker 1: the first time I had met her was this one

1488
01:14:17,040 --> 01:14:34,400
Speaker 1: here called how Could I Want More? And then she

1489
01:14:34,520 --> 01:14:37,720
Speaker 1: also wrote for Jannet Kramer I Got the Boy. Here's

1490
01:14:37,720 --> 01:14:45,880
Speaker 1: a clip of that. And so I say all of

1491
01:14:45,920 --> 01:14:47,720
Speaker 1: that just to set you up, because now we just

1492
01:14:47,760 --> 01:14:50,400
Speaker 1: believe you're good. So tell me about this the new

1493
01:14:50,439 --> 01:14:56,920
Speaker 1: song from Zoe one on one Dance Well, Aggie. Though

1494
01:14:57,160 --> 01:15:00,559
Speaker 1: obviously writing me the creating music is like efty thing

1495
01:15:00,640 --> 01:15:02,840
Speaker 1: to me, but I am a creator and also I

1496
01:15:02,920 --> 01:15:04,920
Speaker 1: do have, you know, family I have to provide for.

1497
01:15:05,160 --> 01:15:08,320
Speaker 1: So I was able to find another way to have

1498
01:15:08,360 --> 01:15:11,479
Speaker 1: a creative outlet and being able to go back into

1499
01:15:11,479 --> 01:15:13,360
Speaker 1: the Zoe era, but not only with the show but

1500
01:15:13,400 --> 01:15:15,479
Speaker 1: the music as well. Because the theme song was like

1501
01:15:15,840 --> 01:15:18,080
Speaker 1: one of the castomers. People loved it just as much

1502
01:15:18,080 --> 01:15:21,120
Speaker 1: as they loved us, So we never fully released it.

1503
01:15:21,280 --> 01:15:23,960
Speaker 1: I figured, during this time where everybody's gonna lockdown, why

1504
01:15:23,960 --> 01:15:26,519
Speaker 1: don't we throw together some zoom co write and let's

1505
01:15:26,600 --> 01:15:29,000
Speaker 1: rework it a little bit, and let's give them the

1506
01:15:29,040 --> 01:15:32,240
Speaker 1: same song and give the fans that they want. So

1507
01:15:32,280 --> 01:15:34,200
Speaker 1: that's what we did. We just kind of reworked and

1508
01:15:34,280 --> 01:15:36,240
Speaker 1: I went to a studio during COVID like and this

1509
01:15:36,280 --> 01:15:37,960
Speaker 1: is like in the heart of COVID, I was by

1510
01:15:38,000 --> 01:15:40,799
Speaker 1: myself with a mask on, with the you know, the engineer,

1511
01:15:41,479 --> 01:15:44,120
Speaker 1: with the producers on zoom singing. They couldn't even hear

1512
01:15:44,760 --> 01:15:46,639
Speaker 1: really what it sounded like back And that is how

1513
01:15:46,680 --> 01:15:50,080
Speaker 1: we recorded the song and got rage. Well, and so

1514
01:15:50,320 --> 01:15:53,240
Speaker 1: you know, I'm seeing some of the new Zoey one

1515
01:15:53,320 --> 01:15:56,200
Speaker 1: on one, you guys all together, the cast. What what

1516
01:15:56,320 --> 01:15:58,080
Speaker 1: is it like to reunite with all of them? It

1517
01:15:58,120 --> 01:16:00,280
Speaker 1: was great. Some of them couldn't be there. They were um.

1518
01:16:00,320 --> 01:16:02,840
Speaker 1: Actually I was the country. Two of them were um.

1519
01:16:02,880 --> 01:16:06,160
Speaker 1: But it was weird because my daughter was there, and she,

1520
01:16:06,400 --> 01:16:09,920
Speaker 1: my oldest daughter, was the same age as when I

1521
01:16:10,120 --> 01:16:12,760
Speaker 1: knew all these kids and was seeing them like consistently,

1522
01:16:12,800 --> 01:16:15,599
Speaker 1: So it was really weird seeing that like side by side,

1523
01:16:15,680 --> 01:16:18,639
Speaker 1: like living in two times at once. And they were

1524
01:16:18,640 --> 01:16:22,519
Speaker 1: all great and hopefully, um, you know, hopell losing get

1525
01:16:22,560 --> 01:16:25,080
Speaker 1: everybody together for the reboot. But it was nice to

1526
01:16:25,080 --> 01:16:26,479
Speaker 1: be able to have the people that we did and

1527
01:16:26,520 --> 01:16:28,759
Speaker 1: just kind of catch up and relive, you know, relive

1528
01:16:28,760 --> 01:16:31,160
Speaker 1: our glory days. When you say you're hoping you get

1529
01:16:31,160 --> 01:16:33,680
Speaker 1: everybody together for the reboot, like you're doing the reboot right,

1530
01:16:33,880 --> 01:16:37,559
Speaker 1: Oh yes, I mean I've been with the creative all

1531
01:16:37,600 --> 01:16:40,240
Speaker 1: of that. It's all happening. It's just you know, you

1532
01:16:40,280 --> 01:16:42,719
Speaker 1: know how it's really hard to get things in production

1533
01:16:42,800 --> 01:16:46,600
Speaker 1: right now. But um, it's all happening. Yet. Here's a

1534
01:16:46,640 --> 01:16:48,080
Speaker 1: question for you. What's it like to hang out with

1535
01:16:48,120 --> 01:16:50,639
Speaker 1: famous tik talkers in real life? Because so they always

1536
01:16:50,880 --> 01:16:53,360
Speaker 1: trying to film and TikTok something. I did not see

1537
01:16:53,360 --> 01:16:55,560
Speaker 1: one of them with their phones in their hands. Honestly,

1538
01:16:55,760 --> 01:16:58,320
Speaker 1: they were there. They were so professional, they were so kind,

1539
01:16:58,400 --> 01:17:01,519
Speaker 1: they were so like engaging with my daughters and my family.

1540
01:17:01,880 --> 01:17:03,960
Speaker 1: I was blown away by how these kids are so

1541
01:17:04,000 --> 01:17:07,120
Speaker 1: young but so professional. I think that it's just it's

1542
01:17:07,120 --> 01:17:09,880
Speaker 1: just the way our world is now. And that's why

1543
01:17:09,920 --> 01:17:11,519
Speaker 1: I thought it was a good direction to go with,

1544
01:17:11,600 --> 01:17:14,559
Speaker 1: because you know, whenever I was twelve and thirteen. All

1545
01:17:14,600 --> 01:17:16,360
Speaker 1: the twelve and thirteen year olds like me and now

1546
01:17:16,400 --> 01:17:18,560
Speaker 1: all the twelve and thirteen year olds loved them. So

1547
01:17:18,680 --> 01:17:21,240
Speaker 1: bringing the two generations together and kind of having them

1548
01:17:21,240 --> 01:17:23,400
Speaker 1: side by side was a really neat, you know, neat

1549
01:17:23,439 --> 01:17:27,080
Speaker 1: idea for the whole you know, the whole Zoe generation

1550
01:17:27,120 --> 01:17:30,760
Speaker 1: and the new Zoe sing But they were so kind

1551
01:17:30,880 --> 01:17:35,400
Speaker 1: and they were so professional and just nice, good kids. Honestly,

1552
01:17:36,080 --> 01:17:40,000
Speaker 1: was there ever a rivalry between Nickelodeon and Disney Kids?

1553
01:17:40,320 --> 01:17:42,719
Speaker 1: You know, I never really felt like it was, because

1554
01:17:42,760 --> 01:17:45,640
Speaker 1: like Miley was always so kind to me. Me and

1555
01:17:45,680 --> 01:17:47,559
Speaker 1: her got along really well, and we saw each other

1556
01:17:47,640 --> 01:17:51,160
Speaker 1: a lot of events, and we were friends afterwards. And

1557
01:17:51,200 --> 01:17:53,799
Speaker 1: I would assume that, you know, Zoe and Hannah Montana

1558
01:17:54,280 --> 01:17:56,360
Speaker 1: would have been the biggest competition, but for me, I

1559
01:17:56,360 --> 01:17:58,439
Speaker 1: was a kind of Montana's gossips me, and she's huge.

1560
01:17:58,479 --> 01:18:00,479
Speaker 1: There's no competing with that, you know. So for me,

1561
01:18:00,520 --> 01:18:02,000
Speaker 1: I was just like, I'm lucky. I get to do

1562
01:18:02,040 --> 01:18:04,680
Speaker 1: something I love to do, and it's really neat to

1563
01:18:04,720 --> 01:18:06,600
Speaker 1: meet other kids who do it. So I never felt that,

1564
01:18:06,680 --> 01:18:09,439
Speaker 1: but I definitely know that, like there was that with

1565
01:18:09,520 --> 01:18:11,960
Speaker 1: some other kids that were in like our young Hollywood

1566
01:18:11,960 --> 01:18:15,559
Speaker 1: group with your oldest daughter. Does she think you're cool

1567
01:18:15,680 --> 01:18:19,840
Speaker 1: yet outside of being her mom because of what of Zoe?

1568
01:18:20,120 --> 01:18:22,280
Speaker 1: Or are you cooler now because you get to introduce

1569
01:18:22,280 --> 01:18:24,360
Speaker 1: her to other people that she really thinks cool? She

1570
01:18:24,439 --> 01:18:29,880
Speaker 1: does not think I'm cool. Embarrassing, very high. But for

1571
01:18:29,920 --> 01:18:31,840
Speaker 1: the first time when I told her that you know

1572
01:18:31,920 --> 01:18:34,400
Speaker 1: Dixie Demilio and no, that she doesn't even have a

1573
01:18:34,439 --> 01:18:36,680
Speaker 1: TikTok account, but just her friends. They all have them

1574
01:18:36,720 --> 01:18:39,000
Speaker 1: and stuff, so she just knows who these people are.

1575
01:18:39,080 --> 01:18:42,120
Speaker 1: It's just her generation. She told me she was proud

1576
01:18:42,160 --> 01:18:46,080
Speaker 1: of me today. Yeah. I was like, well, what hell

1577
01:18:46,400 --> 01:18:49,639
Speaker 1: I have made it? I tell you she was proud

1578
01:18:49,640 --> 01:18:51,160
Speaker 1: of me because she said, you know, I see you

1579
01:18:51,200 --> 01:18:53,559
Speaker 1: everywhere and my friends are talking about you, and I

1580
01:18:53,600 --> 01:18:56,120
Speaker 1: got to meet these people and thank you, Mama. I'm

1581
01:18:56,160 --> 01:18:58,240
Speaker 1: just so proud of you. And I was just made

1582
01:18:58,240 --> 01:19:01,160
Speaker 1: me so happy to talk you did with your daughters

1583
01:19:01,200 --> 01:19:03,160
Speaker 1: where you were walking in front of them and they

1584
01:19:03,160 --> 01:19:06,160
Speaker 1: weren't looking up at you at all. Quite funny. Okay, well,

1585
01:19:06,400 --> 01:19:09,120
Speaker 1: that video calls like a big destruction in my house.

1586
01:19:09,160 --> 01:19:11,439
Speaker 1: I had to say time my manager with my daughter

1587
01:19:11,479 --> 01:19:13,280
Speaker 1: with me, and I was like Maddie's telling me, I

1588
01:19:13,280 --> 01:19:15,800
Speaker 1: cannot post this. That is so embarrassing that I would

1589
01:19:15,800 --> 01:19:17,519
Speaker 1: shake my butt in front of the camera like that

1590
01:19:19,640 --> 01:19:21,800
Speaker 1: hurt school about how I shook my butt in front

1591
01:19:21,800 --> 01:19:24,320
Speaker 1: of camera, and my managers just like laugh is like

1592
01:19:24,400 --> 01:19:26,840
Speaker 1: Maddie and so like I showed a few people being

1593
01:19:27,040 --> 01:19:29,680
Speaker 1: is this that bad? And she because she knew that,

1594
01:19:29,720 --> 01:19:31,519
Speaker 1: like I said, y'all just sit here and don't pay attention.

1595
01:19:31,840 --> 01:19:33,880
Speaker 1: And then when I did that, she was very angry

1596
01:19:33,960 --> 01:19:35,880
Speaker 1: with me. So I ended up posting it. Anyways. You know,

1597
01:19:35,880 --> 01:19:37,559
Speaker 1: I gotta do what you gotta do for those likes,

1598
01:19:37,720 --> 01:19:41,759
Speaker 1: right you're preaching to the choir absolutely, Okay, listen, everybody

1599
01:19:41,800 --> 01:19:43,880
Speaker 1: out there listening to me. Right now, the official music

1600
01:19:43,920 --> 01:19:47,480
Speaker 1: video for Follow Me Zoe one on one has already premiered.

1601
01:19:47,479 --> 01:19:51,200
Speaker 1: By the time you hear this, um, the Zoe one

1602
01:19:51,200 --> 01:19:55,040
Speaker 1: on one revival will be a half reunion, half complete reboot.

1603
01:19:55,200 --> 01:19:59,479
Speaker 1: That's right, right, Jamie Lynn, Yes, yes, okay, I'm in.

1604
01:19:59,760 --> 01:20:03,599
Speaker 1: I'm such a big fan of you and your music career.

1605
01:20:04,080 --> 01:20:07,200
Speaker 1: You're being a mom traveling around with your daughter's softball team.

1606
01:20:07,240 --> 01:20:09,840
Speaker 1: It was like you were the coach. You're everywhere they were.

1607
01:20:09,880 --> 01:20:12,120
Speaker 1: You were just you as a person. I'm just such

1608
01:20:12,160 --> 01:20:13,920
Speaker 1: a big fan, so anytime you need anything, you can

1609
01:20:13,920 --> 01:20:15,960
Speaker 1: always reach out to me. Thank you so much, Bobby,

1610
01:20:16,040 --> 01:20:18,400
Speaker 1: you are the best. Yes, I am the softball team

1611
01:20:18,560 --> 01:20:23,679
Speaker 1: mom happy you know that proud, proudest title. So you're

1612
01:20:23,680 --> 01:20:25,559
Speaker 1: the best. I'm so happy for you. I wish you

1613
01:20:25,600 --> 01:20:27,519
Speaker 1: all of the best things in the whole entire world

1614
01:20:27,600 --> 01:20:29,599
Speaker 1: is to see face starts for you. Thank you, Jamie

1615
01:20:29,680 --> 01:20:38,480
Speaker 1: and talk to you soon hopefully. Thank you. Bye bye.