WEBVTT - Gary Spivack

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<v Speaker 1>Welcome, welcome, Welcome back to the Bob Lefts That podcast.

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<v Speaker 1>My guest today is Gary Spivet, who books all the

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<v Speaker 1>talent for the Danny Wimber Presents rock festivals. Good to

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<v Speaker 1>have you on the show. Gary. How many rock festivals

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<v Speaker 1>are there for Danny Wimmer.

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<v Speaker 2>There are six right now for the calendar year. First off,

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<v Speaker 2>thanks for having me, longtime listener, first time caller. Appreciate

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<v Speaker 2>you as I am a flag waiver of rock and roll.

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<v Speaker 2>Having me on important to speak my mind on that.

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<v Speaker 2>So there's six rock festivals, all destination minimal three days.

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<v Speaker 2>Most of them are four day rock festivals.

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<v Speaker 1>Four days, so that would imply Thursday, Friday, Saturday, Sunday

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<v Speaker 1>most are three day. What's the thinking in four days?

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<v Speaker 2>Well, first off, on business standpoint, it's an advertising of costs.

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<v Speaker 2>You got your stages, you got your crews, you got

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<v Speaker 2>your staffing, everybody's there. So from a business standpoint, it's

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<v Speaker 2>almost like this nice added day of revenue. Rock fans.

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<v Speaker 2>Believe me, Bob, if they were, because it is taxing

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<v Speaker 2>as a promoter and somebody to work a four day festival.

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<v Speaker 2>If they were crying about it, we wouldn't do it.

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<v Speaker 2>But they they eat it up. So for them it's

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<v Speaker 2>like instead of a Hawaii vacation or bungee jumping, this

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<v Speaker 2>is their this is their vacation, this is their getaway,

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<v Speaker 2>and families come to this.

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<v Speaker 1>And what are the capacities of these festivals?

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<v Speaker 2>Had a record breaking Welcome to Rockville Daytona Beach, which

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<v Speaker 2>was the single day, which was well over fifty five thousand,

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<v Speaker 2>So capacities vary from that number to a round forty.

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<v Speaker 1>Okay, And what festivals have yet to play this year?

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<v Speaker 2>We have Louder than Life in Louisville, Kentucky, after Shock

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<v Speaker 2>I'm not doing chronological sorry, Louder than Life Rock Oklahoma,

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<v Speaker 2>which is Labor Day weekend, and After Shock in Sacramento, California.

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<v Speaker 1>So conventional wisdom is rock is dead. What can you

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<v Speaker 1>tell us about that?

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<v Speaker 2>Yeah, you like saying that. I know. Look, all I

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<v Speaker 2>can tell you is when you put these festivals on

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<v Speaker 2>and you have an abundance of bands and you don't overcharge,

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<v Speaker 2>they come and they come in droves. To me rock

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<v Speaker 2>all right, So I think we the heyday when I

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<v Speaker 2>was raised in the industry, when I was starting at

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<v Speaker 2>record labels, this was the early nineties and grunge rock

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<v Speaker 2>took over Nirvana, Pearl Jem, Soundgarden, Alis, Smashing Pumpkins. They

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<v Speaker 2>had the mainstream MTV, buzzbin rock, and alternative radio, and

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<v Speaker 2>I think a lot of us have been chasing the

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<v Speaker 2>dragon's tail since then. But rock's never supposed to be

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<v Speaker 2>in the mainstream. It's supposed to be the other side

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<v Speaker 2>of the tracks. It's supposed to be like the grassy

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<v Speaker 2>knoll where the cool kids are at the cafeteria table

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<v Speaker 2>with the jocks and the kids in their polo shirts,

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<v Speaker 2>and it's the rockers up on the grassy knoll with

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<v Speaker 2>their cigarettes and exchanging rush cassettes. That's always been my

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<v Speaker 2>taking rock. It's always been the left, the rebellious, and

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<v Speaker 2>not the mainstream. Pop music doesn't the word pop means

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<v Speaker 2>popular as in popular music, and rock has never been

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<v Speaker 2>intended minus a couple moments in our favorite era, probably

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<v Speaker 2>you know, sixty four to seventy, specifically sixty seven to

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<v Speaker 2>seventy when rock kind of took it ruled everything. Rock

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<v Speaker 2>is not the pretty girl in school, right, It's not

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<v Speaker 2>the most popular kid in the class. It's the outcast.

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<v Speaker 2>It's the misfits. So you gather them together at a

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<v Speaker 2>festival or look I go to you see Greta van

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<v Speaker 2>Fleet at the Forum twelve thousand people. I don't know

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<v Speaker 2>how you can say Rock is dead when that happens.

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<v Speaker 1>Okay, is this the same audience who goes to the

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<v Speaker 1>Juggalo festival? No?

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<v Speaker 2>You know what I equated to, Bob all right, So

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<v Speaker 2>you might hear some sports analogies throughout our hang today,

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<v Speaker 2>Hockey specifically Los Angeles. The Kings sell out Crypto every night,

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<v Speaker 2>twenty thousand strong. There's probably twenty three thousand hockey fans

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<v Speaker 2>in Los Angeles, right, It's like, but they're dedicated, they're

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<v Speaker 2>into it. They have the jerseys, they know that, the players,

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<v Speaker 2>they know that, they know their competition. That's Rock. That

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<v Speaker 2>forty thousand that attends our festival, that's the core. And

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<v Speaker 2>if you treat them right and you give them great

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<v Speaker 2>lineups and good food and good beer, not stale bud

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<v Speaker 2>light and corn dogs anymore, they come back. So it is.

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<v Speaker 2>It is not the Juggalo audience, though we cater to

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<v Speaker 2>them too.

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<v Speaker 1>Okay, you talk about good food. Coachella had very high

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<v Speaker 1>end offerings and stagecoach was moorn downscale when you say

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<v Speaker 1>good food for rock festivals, go a little deep.

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<v Speaker 2>Yeah, we have. We have five stars. We have Louisville, Kentucky.

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<v Speaker 2>We're Bourbon and Beyond and louder than life is. We

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<v Speaker 2>have five star chefs backstage and front house. We have

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<v Speaker 2>the best barbecue in Louisville. In Dave Grohl has been

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<v Speaker 2>a part of that. Uh it is. We stopped with

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<v Speaker 2>with the with the corn dogs and churos long ago.

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<v Speaker 2>So it's a stone that it's it's oven pizza, it's

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<v Speaker 2>it's it's quality food. And to go step further like

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<v Speaker 2>it louder than life in Bourbon and Beyond. We have

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<v Speaker 2>Bourbon tasting villages a la Bottle Rock where every real

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<v Speaker 2>quickly quick fact about Bourbon, which I become pretty vers in.

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<v Speaker 2>Not like Danny wimmern of all, Bourbon is just and

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<v Speaker 2>Planet Earth is distilled in Louisville, Kentucky. Thought that Louisville,

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<v Speaker 2>Kentucky was doing a very bad job about pring. That Louisville,

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<v Speaker 2>Kentucky is the Napa Valley of Bourbon. So we have

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<v Speaker 2>Bourbon tasting villages where it's it's one fixed price and

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<v Speaker 2>every local bourbon distiller is set up so you have

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<v Speaker 2>these fine bourbons, You've got high end barbecue, you have

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<v Speaker 2>vegan it's it's all there and food trucks and vendors,

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<v Speaker 2>and it's it's quality. So people are we want them

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<v Speaker 2>for lunch and dinner.

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<v Speaker 1>Okay. Coachella historically, for like the last decade, except for

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<v Speaker 1>maybe the last year two, has been line up independent,

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<v Speaker 1>i e. People will buy tickets based on the name

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<v Speaker 1>of Coachella with the faith that Golden Voyage will book

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<v Speaker 1>a lineup that they're happy with. To what degree does

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<v Speaker 1>that apply to rock festivals?

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<v Speaker 2>Not as well? It is. It is definitely artist dependent.

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<v Speaker 2>But we do blind ticketing and we could sell about

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<v Speaker 2>twenty percent of give or take of of capacity without

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<v Speaker 2>a lineup, But it is, it is artists dependent. They

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<v Speaker 2>they don't like repeats, they like reunions, they like you

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<v Speaker 2>know what wins at our shows, Bob and a prop

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<v Speaker 2>It's very simple. It probably wins at any concert you

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<v Speaker 2>go to is energy, songs, attitude, and production. I put

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<v Speaker 2>production last because a lot of the festivals are city

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<v Speaker 2>festivals with hard curfews at eleven, so, especially in the spring,

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<v Speaker 2>top two bands really get lights because it doesn't get

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<v Speaker 2>dark till nine nine to fifteen at some of these festivals.

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<v Speaker 2>So songs win and energy wins. So when you put

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<v Speaker 2>all these bands together and you curate it right, they

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<v Speaker 2>return and they show up. So to answer your question,

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<v Speaker 2>the short answer your question at our festivals, it's it's

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<v Speaker 2>definitely talent dependent and we got it and we're swinging

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<v Speaker 2>with the biggest Now.

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<v Speaker 1>Okay, So how many of these festivals or city festivals

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<v Speaker 1>and how many are destination outside of the city.

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<v Speaker 2>Well, they're all destination, you know, Louder than life. Using

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<v Speaker 2>that as example in Louisville, Kentucky. One of my favorite

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<v Speaker 2>things about that festival, it's literally across the road from

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<v Speaker 2>the airport. It is art the hotel we stay out.

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<v Speaker 2>You could see the main stages. Like how great is that?

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<v Speaker 1>One has to ask if it's across the street from

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<v Speaker 1>the airport, what about the airport noise?

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<v Speaker 2>We work with them. Well, and you have left, you

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<v Speaker 2>have curfews and they they they have. We are so

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<v Speaker 2>good with Louisville that they help redirect their airline their

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<v Speaker 2>flight takeoffs and departures where they direct it out of

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<v Speaker 2>the you can see planes taken off. The quick funny

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<v Speaker 2>story I have is Foo fighters played on a Friday.

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<v Speaker 2>I had to leave on a Saturday for a family thing.

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<v Speaker 2>Dave Groll wanted to see a band, and I escorted

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<v Speaker 2>him on stage. We're watching the band and I have

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<v Speaker 2>my luggage with me, and I get my runner and

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<v Speaker 2>I'm boarding my plane and that band's still playing. That's

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<v Speaker 2>how great that festival is.

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<v Speaker 1>Okay, let's let's go back. How many of these festivals

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<v Speaker 1>are like acl or Lollapalooza in the metropolis, and how

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<v Speaker 1>many are more akin to Bonaru or Coachella in an

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<v Speaker 1>area that's not literally right by a city.

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<v Speaker 2>Rock Klahoma and Prior Oklahoma is forty five minutes from Tulsa.

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<v Speaker 2>It is a ninety percent camping festival. We have camping

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<v Speaker 2>at every festival, but every festival I just mentioned is,

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<v Speaker 2>if not ten minutes from the airport, less than thirty.

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<v Speaker 2>So it's there's camping, but it's hotel. It's like Sonic

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<v Speaker 2>Temple and Columbus, Ohio. We did a zip code report. Columbus,

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<v Speaker 2>Ohio is responsible for twenty nine percent of ticket sales,

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<v Speaker 2>meaning what is that seventy one percent of all tickets

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<v Speaker 2>sold are outside of the city of Columbus. So what

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<v Speaker 2>we bring into that city, Hotel, Starbucks, gas station, sports bars.

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<v Speaker 2>We bring a lot of income into into Columbus, Ohio

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<v Speaker 2>for that weekend.

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<v Speaker 1>How into the data are you not?

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<v Speaker 2>It depends. I will not answer. If I don't know,

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<v Speaker 2>I'm not going to make shit up for you. My

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<v Speaker 2>specialty is talent booking curating. But when we started when

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<v Speaker 2>when Danny Wimmer, myself and Dell Williams, you'll probably hear

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<v Speaker 2>that named Del Williams a lot as we talk today.

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<v Speaker 2>Dell and I were in record label world together. We

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<v Speaker 2>wanted to start something. We felt there was a This

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<v Speaker 2>is two thousand and six, by the way. My last

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<v Speaker 2>label job was Geffen Records Head of Rock and Alternative Promotion.

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<v Speaker 2>I was hitting my head on the ceiling. I didn't

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<v Speaker 2>want to be a promotion man anymore, live concerts or

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<v Speaker 2>what gets the hair on my arms raised. So Del

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<v Speaker 2>Williams and I started what was called Right Arm Entertainment.

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<v Speaker 2>At the time, it was just a book. If you

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<v Speaker 2>remember the Radio Festival craze those radio stations right So

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<v Speaker 2>we started booking all them because these programmers didn't know

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<v Speaker 2>what to do, and Dell and I were verse in

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<v Speaker 2>it because of our label experience. And work with bands

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<v Speaker 2>and managers and agents. So we were booking festivals, sorry,

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<v Speaker 2>radio shows. But Bob quickly became noticeable for me that

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<v Speaker 2>if you're going to be kind of taken seriously in

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<v Speaker 2>this business, you got to write a check and you

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<v Speaker 2>got to be able to be an actual promoter. So

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<v Speaker 2>we started Rock on the Range and Carolina Rebellion and

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<v Speaker 2>that's Charlotte, North Carolina Rock on the Range, Columbus, Ohio,

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<v Speaker 2>Dell and I and Danny Wimmer. Danny Wimmer and I

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<v Speaker 2>was it was kind of an arranged marriage. Through Dell,

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<v Speaker 2>Danny and I flew to Saint Louis, Missouri to strike

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<v Speaker 2>a deal with a guy by the name of Joe

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<v Speaker 2>Lidvag who was the head of Midwest at AEG and

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<v Speaker 2>we went fifty to fifty with him because it was

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<v Speaker 2>us three. We didn't have. We didn't really have we had.

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<v Speaker 2>We had a lot of ignorance and a lot of arrogance,

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<v Speaker 2>and so AG became our partner, the nuts and bolts partner,

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<v Speaker 2>and we worked with Columbus Creuse Stadium in Columbus, Ohio,

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<v Speaker 2>which was an AEG room, a building it was. It's

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<v Speaker 2>on the it's on the grounds of the Columbus fair Grounds.

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<v Speaker 2>So there's camping, parking, soccer stadium, parking lots, side stage areas,

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<v Speaker 2>perfect and Danny and I went to Saint Louis to

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<v Speaker 2>sign our agreement, and little did I know that the

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<v Speaker 2>kid had food poisoning, but he kind of personed up

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<v Speaker 2>and that was a real sign for me that this

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<v Speaker 2>this this guy is serious and he was a hustler

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<v Speaker 2>because he had food. If I think you've probably had

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<v Speaker 2>food poisoning in your life, oh I've had it multiple times. Yeah,

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<v Speaker 2>that's a fucking knockout. That's like put me at just

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<v Speaker 2>kill me now. But we just started talking and this

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<v Speaker 2>arranged marriage became kind of this brotherhood, this partnership. So

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<v Speaker 2>we started these festivals. And the reason why we started

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<v Speaker 2>these festivals Bob two thousand and six, two thousand and seven.

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<v Speaker 2>There was Coachella, there was acl there was Bonnaroo, but

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<v Speaker 2>there wasn't who was serving these rock fans when and

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<v Speaker 2>I don't mean warped to or punk rock or oz

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<v Speaker 2>Fest at the time, like rock and roll. You know,

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<v Speaker 2>bands like Godsmack and Shine Down and Disturbed will never

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<v Speaker 2>get invited to Coachella or bonnerou Let's make this their Coachella.

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<v Speaker 2>And we picked Columbus, Ohio for a couple of reasons.

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<v Speaker 2>One because it was AG fifty to fifty two, but

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<v Speaker 2>also we're really big into feeder markets, meaning around Columbus,

0:14:43.160 --> 0:14:48.680
<v Speaker 2>you have Cincinnati, you have Cleveland, Detroit, you have Toledo, Akron,

0:14:48.960 --> 0:14:53.840
<v Speaker 2>these kind of underserved rock towns, and they all it worked.

0:14:53.880 --> 0:14:56.800
<v Speaker 2>They all came in and they all have rock radio stations.

0:14:57.040 --> 0:15:00.680
<v Speaker 2>So at the time we were very terrestrial radio heavy

0:15:01.640 --> 0:15:04.120
<v Speaker 2>because of our radio show knowledge, and we knew all

0:15:04.120 --> 0:15:06.800
<v Speaker 2>these stations, so they became friends to us and we

0:15:06.960 --> 0:15:09.160
<v Speaker 2>use them. I got on and back in the day,

0:15:09.840 --> 0:15:13.320
<v Speaker 2>because you asked, I said, I'm strictly mostly talent and booking.

0:15:13.360 --> 0:15:17.680
<v Speaker 2>But back then us three did everything. Bob we I booked,

0:15:18.000 --> 0:15:21.200
<v Speaker 2>I did the marketing, I got sponsors, I got on

0:15:21.280 --> 0:15:24.840
<v Speaker 2>the radio, I talked to morning shows. It was just

0:15:24.920 --> 0:15:28.320
<v Speaker 2>spreading kind of this rock nation around the area. And

0:15:28.360 --> 0:15:32.720
<v Speaker 2>that's we did it, kind of you know, soup to nuts.

0:15:32.840 --> 0:15:36.480
<v Speaker 2>At the time, I knew every sandwich on that subway

0:15:36.640 --> 0:15:38.240
<v Speaker 2>because that's all that's all we can afford.

0:15:45.280 --> 0:15:47.960
<v Speaker 1>Okay, let's just go through the history a little bit. Okay,

0:15:48.160 --> 0:15:52.800
<v Speaker 1>so the three of you start. Does Del Williams continue

0:15:52.880 --> 0:15:55.600
<v Speaker 1>or does he step aside at some point? What's his role?

0:15:56.400 --> 0:16:00.480
<v Speaker 2>Yeah? It was it was Gary, Dell and Danny. I

0:16:00.520 --> 0:16:04.840
<v Speaker 2>think we had one assistant maybe, so over the years

0:16:04.920 --> 0:16:07.120
<v Speaker 2>we did a fifth year anniversary I think of Rock

0:16:07.160 --> 0:16:12.720
<v Speaker 2>on the Range and Dell kind of stepped aside. Danny

0:16:14.400 --> 0:16:19.560
<v Speaker 2>got into some capital and kind of bought Dell out

0:16:20.200 --> 0:16:23.560
<v Speaker 2>and rolled me in to Danny Wermer Presents, and I

0:16:23.600 --> 0:16:26.680
<v Speaker 2>became the head of talent and Dell stayed on as

0:16:26.680 --> 0:16:30.800
<v Speaker 2>a consultant. Is I think we're at twenty thirteen now

0:16:31.200 --> 0:16:34.120
<v Speaker 2>after a run of two thousand and seven to twenty twelve.

0:16:35.920 --> 0:16:38.960
<v Speaker 2>So Dell, Danny and I have always been communicating, always

0:16:39.000 --> 0:16:44.080
<v Speaker 2>been talking. So from twenty thirteen to about twenty one,

0:16:45.040 --> 0:16:49.160
<v Speaker 2>I was the head of talent at DWP Booking, curating

0:16:49.160 --> 0:16:52.080
<v Speaker 2>programming all the rock festivals. Dell at the time was

0:16:52.120 --> 0:16:56.360
<v Speaker 2>doing bourbon beyond helping where he could and for me,

0:16:56.480 --> 0:16:58.720
<v Speaker 2>if I could talk about me, a couple of things happened.

0:17:00.480 --> 0:17:05.439
<v Speaker 2>Two in particular, we got the Woodstock account, which was

0:17:05.480 --> 0:17:09.119
<v Speaker 2>a very big deal for me. As I follow you,

0:17:09.240 --> 0:17:12.240
<v Speaker 2>I know you're extremely versed. You were living it in

0:17:12.320 --> 0:17:16.480
<v Speaker 2>real time, but I'm a total student of sixty seven

0:17:16.520 --> 0:17:21.280
<v Speaker 2>to seventy specifically and Woodstock, I'm kind of a complete

0:17:21.280 --> 0:17:24.920
<v Speaker 2>Woodstock nerd. And we became friend. We cold called Michael

0:17:24.960 --> 0:17:28.000
<v Speaker 2>Lang and became very friendly with him. He would come

0:17:28.040 --> 0:17:30.119
<v Speaker 2>to our festivals, He came to Louder than Life, he

0:17:30.160 --> 0:17:33.280
<v Speaker 2>came to Columbus, Ohio, and he said, I'm going to

0:17:33.359 --> 0:17:37.399
<v Speaker 2>be doing Woodstock fifty, and we said we want to

0:17:37.440 --> 0:17:39.720
<v Speaker 2>be part of it in any shape or form. He

0:17:39.840 --> 0:17:44.399
<v Speaker 2>ended up hiring me DWP for booking. He ended up

0:17:44.440 --> 0:17:49.360
<v Speaker 2>hiring Superfly for production, and he got this company called

0:17:49.400 --> 0:17:54.640
<v Speaker 2>Densu Japanese conglomber and advertising agency to fund it. And

0:17:55.280 --> 0:17:57.520
<v Speaker 2>it was one of the greatest couple months of my

0:17:57.640 --> 0:18:02.359
<v Speaker 2>life booking that festival until it was the whole thing imploded.

0:18:03.359 --> 0:18:07.760
<v Speaker 2>Michael may he rest in peace. Uh is the ultimate

0:18:07.880 --> 0:18:11.080
<v Speaker 2>was the ultimate Hippi hustler, you know, like, well, he

0:18:11.160 --> 0:18:14.520
<v Speaker 2>was an elephant who would just kind of leave a

0:18:14.760 --> 0:18:17.720
<v Speaker 2>bunch of shit behind and it was for us to

0:18:17.760 --> 0:18:21.159
<v Speaker 2>clean up. So Woodstock took a lot out of me.

0:18:21.359 --> 0:18:24.080
<v Speaker 2>And if you yeah.

0:18:23.920 --> 0:18:26.639
<v Speaker 1>I mean I shouldn't remember den Sue pulling the plug,

0:18:26.680 --> 0:18:30.680
<v Speaker 1>et cetera. But if you had to specifically state why

0:18:30.720 --> 0:18:32.680
<v Speaker 1>that failed? Why did it fail?

0:18:34.760 --> 0:18:37.919
<v Speaker 2>Michael did not have his stuff together. He didn't. He

0:18:37.960 --> 0:18:45.399
<v Speaker 2>didn't have a venue deal Superfly rightfully, so was holding strong.

0:18:45.600 --> 0:18:49.560
<v Speaker 2>He wanted one hundred thousand. It was Watkins Glen was

0:18:49.600 --> 0:18:52.480
<v Speaker 2>the venue. Uh, and I think in what was that?

0:18:53.000 --> 0:18:55.520
<v Speaker 2>You remember? I was at seventy three, the Almond Brothers,

0:18:55.520 --> 0:18:59.679
<v Speaker 2>Greg was there. You were there? Awesome? Uh, biggest one

0:18:59.760 --> 0:19:03.640
<v Speaker 2>day rock festival in America. I believe for a long

0:19:03.640 --> 0:19:08.639
<v Speaker 2>period of time he chose Walkins Glen. Fish was supposed

0:19:08.640 --> 0:19:12.360
<v Speaker 2>to have a Walkins Glen Weekend in like October of eighteen.

0:19:12.560 --> 0:19:15.760
<v Speaker 2>This is Woodstock fifty supposed to be August twenty nineteen,

0:19:16.119 --> 0:19:18.840
<v Speaker 2>and we were getting ramped up and started booking Woodstock

0:19:19.080 --> 0:19:21.560
<v Speaker 2>and Fish. If you remember, there was all these water

0:19:21.640 --> 0:19:24.439
<v Speaker 2>and plumbing issues at Walkins Glen and they had to

0:19:24.440 --> 0:19:28.120
<v Speaker 2>pull the plug the day before that Fish Weekend, which

0:19:28.240 --> 0:19:30.479
<v Speaker 2>caused a lot of red flags for everybody, but not

0:19:30.520 --> 0:19:35.160
<v Speaker 2>for Michael, and capacity was lowered. He didn't have permits,

0:19:35.359 --> 0:19:41.400
<v Speaker 2>he didn't have dB permits. But we proceeded and booked

0:19:41.440 --> 0:19:45.640
<v Speaker 2>a hell of a three day festival of four main

0:19:45.760 --> 0:19:49.720
<v Speaker 2>stages and a couple side stages. Anybody. You can google

0:19:49.720 --> 0:19:52.520
<v Speaker 2>Woodstock fifty. You could see the lineup because it was announced.

0:19:52.680 --> 0:19:54.919
<v Speaker 2>I had never in my life seen a show. This

0:19:55.119 --> 0:20:00.560
<v Speaker 2>was announced in March of twenty nineteen with no on sale,

0:20:01.119 --> 0:20:03.679
<v Speaker 2>and Michael had the idea of this is March, like,

0:20:03.840 --> 0:20:07.600
<v Speaker 2>let's put it on sale Earth Day, you know, April twenty.

0:20:08.960 --> 0:20:11.480
<v Speaker 2>So it was supposed to be on sale. April twenty

0:20:11.520 --> 0:20:14.919
<v Speaker 2>came and went, and I was getting a lot of

0:20:14.960 --> 0:20:18.679
<v Speaker 2>heat from every agent. You know, these are big bands

0:20:18.680 --> 0:20:21.840
<v Speaker 2>I had. The Killer is Maty Cyrus, The Racking Tour's

0:20:21.880 --> 0:20:24.399
<v Speaker 2>Dead and Company, Chance the Rapper, I'm on top of

0:20:24.440 --> 0:20:28.800
<v Speaker 2>my head, Jay Z Imagine, Dragons, Brandy Carlisle, Halsey, it

0:20:28.920 --> 0:20:34.080
<v Speaker 2>was Black Keys and they were like, what's up, what's

0:20:34.119 --> 0:20:36.040
<v Speaker 2>going on with the show? And I and nobody can

0:20:36.040 --> 0:20:40.239
<v Speaker 2>get a straight answer. Finally the plug was pulled and

0:20:40.920 --> 0:20:42.280
<v Speaker 2>it took a lot out of me. So now we're

0:20:42.320 --> 0:20:47.560
<v Speaker 2>in twenty nineteen. Second thing that happened was COVID March

0:20:47.800 --> 0:20:51.560
<v Speaker 2>twenty twenty. I'm on a trip with my wife to

0:20:51.600 --> 0:20:54.960
<v Speaker 2>see my daughter who's studying abroad in London and crushing

0:20:55.000 --> 0:20:57.520
<v Speaker 2>it as a young woman. We fly back on I

0:20:57.560 --> 0:21:00.640
<v Speaker 2>think it's March ninth, I think was March ten. We're

0:21:01.040 --> 0:21:03.800
<v Speaker 2>trying to fall asleep and we turn on CNN and

0:21:04.040 --> 0:21:08.840
<v Speaker 2>Rita Wilson and Tom Hanks got COVID and the NBA

0:21:08.920 --> 0:21:13.439
<v Speaker 2>season was canceled, and I think I'm texting with Wimmer, like,

0:21:14.480 --> 0:21:18.160
<v Speaker 2>you know, oh, this is this is real. And I

0:21:18.320 --> 0:21:20.159
<v Speaker 2>just was one of those guys, Bob who kind of

0:21:20.160 --> 0:21:22.960
<v Speaker 2>had an epiphany, you know, like I'm I'm a little

0:21:22.960 --> 0:21:28.600
<v Speaker 2>burnt right now. I pushed through twenty twenty with DWP.

0:21:28.920 --> 0:21:31.800
<v Speaker 2>We do what everybody else does, you know, get into streaming,

0:21:32.640 --> 0:21:35.520
<v Speaker 2>do what we can to survive. We all take big

0:21:35.560 --> 0:21:38.720
<v Speaker 2>pay cuts and just as a company, and that took

0:21:38.760 --> 0:21:41.640
<v Speaker 2>a lot out of me. Twenty twenty one rolls around.

0:21:42.840 --> 0:21:46.840
<v Speaker 2>We put shows together thanks to guys like Cliff Bernstein

0:21:46.880 --> 0:21:49.560
<v Speaker 2>and Q Prime. We were the first to have Metallica.

0:21:49.600 --> 0:21:54.040
<v Speaker 2>We were the first to have Metallica played twice. They

0:21:54.040 --> 0:21:58.199
<v Speaker 2>played a Friday and a Sunday, different sets. And so

0:21:58.320 --> 0:22:03.320
<v Speaker 2>by then I was watching Metallica at Aftershock, which is

0:22:03.359 --> 0:22:06.720
<v Speaker 2>October twenty twenty one, and I just had this moment

0:22:06.880 --> 0:22:11.320
<v Speaker 2>where I think I'm good. I think I'm good, and

0:22:11.400 --> 0:22:14.080
<v Speaker 2>I talked to Wimmer and we worked out. I left

0:22:14.280 --> 0:22:16.840
<v Speaker 2>as an executive just to become a consultant, just a

0:22:16.880 --> 0:22:23.320
<v Speaker 2>book and during that time, during COVID, I myself became

0:22:23.359 --> 0:22:27.240
<v Speaker 2>a lot closer with one of my than I have met, Bob.

0:22:27.280 --> 0:22:31.159
<v Speaker 2>I have mentors. I thought i'd have a shitload of

0:22:31.200 --> 0:22:33.840
<v Speaker 2>mentors in this industry. I have less than a handful.

0:22:33.960 --> 0:22:36.679
<v Speaker 2>And one of them is Mark Geiger, who's appearing a

0:22:36.720 --> 0:22:40.080
<v Speaker 2>mentor and a tennis buddy. And I know I could

0:22:40.119 --> 0:22:43.879
<v Speaker 2>take him skiing too, but that's a different story. I

0:22:43.920 --> 0:22:45.439
<v Speaker 2>want to get with you one day on skiing too,

0:22:45.440 --> 0:22:47.359
<v Speaker 2>because I went to the University Colorado for the sole

0:22:47.400 --> 0:22:48.800
<v Speaker 2>reason because I was a ski rat.

0:22:50.720 --> 0:22:54.159
<v Speaker 1>That's such a long conversation. I'm gonna let it go. Sorry,

0:22:54.400 --> 0:22:57.560
<v Speaker 1>continue with the getting together with Geiger.

0:22:57.640 --> 0:23:02.800
<v Speaker 2>As my wife would say, here's my ADHD kicking. Geiger

0:23:03.200 --> 0:23:06.480
<v Speaker 2>was leaving WM and we're playing tennis, and he's like,

0:23:06.520 --> 0:23:10.000
<v Speaker 2>I'm starting something. I'm kind of going back to my roots,

0:23:10.359 --> 0:23:13.760
<v Speaker 2>and I want to what I love and when I've

0:23:13.800 --> 0:23:17.199
<v Speaker 2>always loved to booking Metallica and Guns n' Rows and

0:23:17.200 --> 0:23:20.360
<v Speaker 2>Foo Fighters is great, but Bob, I'm all about music discovery.

0:23:20.400 --> 0:23:24.320
<v Speaker 2>To this day, I eat it up and I love

0:23:24.359 --> 0:23:27.240
<v Speaker 2>when I find a band that I actually love, because

0:23:27.280 --> 0:23:29.600
<v Speaker 2>a lot of these and everybody knows this about me,

0:23:30.320 --> 0:23:32.800
<v Speaker 2>there's a good amount of these bands because I'm a

0:23:32.800 --> 0:23:36.240
<v Speaker 2>businessman that I book that I don't really like personally,

0:23:36.280 --> 0:23:37.919
<v Speaker 2>but I get it and I appreciate it and I

0:23:37.960 --> 0:23:40.280
<v Speaker 2>respect it. But when there's a band that I like

0:23:40.800 --> 0:23:42.680
<v Speaker 2>that I appreciate and respect it and I get to

0:23:42.720 --> 0:23:47.200
<v Speaker 2>go watch, that's that's the good stuff. So with Mark,

0:23:47.960 --> 0:23:52.560
<v Speaker 2>you know, here's a guy who started Lollapalooza. Here's a

0:23:52.600 --> 0:23:55.960
<v Speaker 2>guy who's his resume is we all know it, but

0:23:56.359 --> 0:23:58.720
<v Speaker 2>he loves going to see an unsigned band at a

0:23:58.720 --> 0:24:02.280
<v Speaker 2>three hundred club room, as do I. So he said,

0:24:02.320 --> 0:24:05.840
<v Speaker 2>I'm starting this company. And at the time I was like,

0:24:05.960 --> 0:24:08.920
<v Speaker 2>you know what, you know, if you were selling strawberries

0:24:08.920 --> 0:24:10.520
<v Speaker 2>off the four or five, I think I would go

0:24:10.560 --> 0:24:14.560
<v Speaker 2>with you. Let's let's let's do this. So I called Wimmer.

0:24:15.040 --> 0:24:18.320
<v Speaker 2>This is I think January twenty two now, and I said,

0:24:18.320 --> 0:24:20.920
<v Speaker 2>look something. He loves Mark like I do. And he

0:24:21.000 --> 0:24:25.960
<v Speaker 2>said something something on opportunities arisen and I want to

0:24:26.000 --> 0:24:28.800
<v Speaker 2>try this with Mark. And Danny said, is Mark interested

0:24:28.840 --> 0:24:34.080
<v Speaker 2>in festivals? And mark S answer was fuck no, because

0:24:34.119 --> 0:24:36.480
<v Speaker 2>Mark's been there, done that, and he just he wants

0:24:36.520 --> 0:24:41.679
<v Speaker 2>to do his venues and Dany's like, all right, you know,

0:24:41.840 --> 0:24:45.440
<v Speaker 2>have at it man. So twenty twenty two to twenty four,

0:24:46.080 --> 0:24:49.159
<v Speaker 2>I was kind of rolling double duty working as an

0:24:49.160 --> 0:24:54.080
<v Speaker 2>executive in Marks Companies, Saved Live and consulting with DWP.

0:24:55.160 --> 0:25:00.159
<v Speaker 2>Dell Williams came back and took the role of of

0:25:00.200 --> 0:25:04.320
<v Speaker 2>talent at DWB was so it's been this kind of

0:25:04.920 --> 0:25:08.360
<v Speaker 2>constant flow between Gary, Danny and Dell to this day.

0:25:09.840 --> 0:25:13.240
<v Speaker 1>So you've recently left Save Live. What was going on there?

0:25:16.720 --> 0:25:20.439
<v Speaker 2>Sports analogy if I can. I was a player at

0:25:20.480 --> 0:25:23.760
<v Speaker 2>a position and I knew it and Mark knew it.

0:25:23.760 --> 0:25:29.600
<v Speaker 2>It right, people wrong fit it was. It's a volume

0:25:29.640 --> 0:25:35.800
<v Speaker 2>based booking job. I love creating and curating and putting

0:25:35.840 --> 0:25:39.600
<v Speaker 2>together who could I put under Metallica with with Danny

0:25:39.640 --> 0:25:41.680
<v Speaker 2>and Dell and what can we put on the side

0:25:41.720 --> 0:25:45.880
<v Speaker 2>stages Save Live. I wish him the best, love them,

0:25:46.119 --> 0:25:47.639
<v Speaker 2>just it wasn't right for me, and I'm at the

0:25:47.680 --> 0:25:51.760
<v Speaker 2>point in my life, you know, I'm a squirrel Who've

0:25:51.760 --> 0:25:54.400
<v Speaker 2>collected a good amount of nuts where I just want

0:25:54.400 --> 0:25:57.159
<v Speaker 2>to work with people or do something that inspires me

0:25:57.320 --> 0:26:02.919
<v Speaker 2>and excites me so completely amical parting Mark got it.

0:26:04.040 --> 0:26:06.520
<v Speaker 2>I hope he I hope he rules the world, and

0:26:06.520 --> 0:26:08.040
<v Speaker 2>I hope woman rules the world too.

0:26:08.400 --> 0:26:10.080
<v Speaker 1>Okay, so where does this leave you?

0:26:12.119 --> 0:26:15.680
<v Speaker 2>I am consulting with DWP. I also kept a couple

0:26:15.720 --> 0:26:20.520
<v Speaker 2>of venues Mark greenlit which is the Rave and Eagles

0:26:20.520 --> 0:26:24.879
<v Speaker 2>ball Room in Milwaukee, Wisconsin. Fantastic historic venues. I'm working

0:26:24.920 --> 0:26:30.920
<v Speaker 2>on an international deal with a German promoter, and I'm

0:26:31.119 --> 0:26:36.199
<v Speaker 2>just kind of you know, I'm leaning, Bob. I'm in

0:26:36.280 --> 0:26:40.200
<v Speaker 2>a really unique place in my life. I'm leaning hard

0:26:40.920 --> 0:26:46.119
<v Speaker 2>on my relationships because that's all I got. You know,

0:26:46.880 --> 0:26:51.280
<v Speaker 2>somebody said, you work till you're forty five. Let's say

0:26:51.280 --> 0:26:54.800
<v Speaker 2>you work to your fifty to build your relationships, and

0:26:54.840 --> 0:26:58.520
<v Speaker 2>then why don't you take fifty to whenever to use them?

0:27:00.520 --> 0:27:04.679
<v Speaker 1>Dot and I here, what's this? What's going on with you?

0:27:04.720 --> 0:27:06.040
<v Speaker 1>I think you said in Wisconsin?

0:27:07.440 --> 0:27:12.000
<v Speaker 2>Yeah, I am consulting Eagles Ballroom and the Rave Eagles

0:27:12.040 --> 0:27:15.920
<v Speaker 2>at there. It's this fantastic historic venue that is all

0:27:15.960 --> 0:27:18.359
<v Speaker 2>in one. There's four venues in this building. It's across

0:27:18.359 --> 0:27:22.280
<v Speaker 2>the street from Marquette University. An a rock band worth anything.

0:27:22.359 --> 0:27:25.960
<v Speaker 2>In the last thirty years has heard of Eagles Ballroom Independent?

0:27:26.680 --> 0:27:29.320
<v Speaker 2>You know again, I've always been kind of an independent spirit,

0:27:29.920 --> 0:27:32.920
<v Speaker 2>even at the at my record label days. I worked

0:27:32.960 --> 0:27:36.040
<v Speaker 2>for one Monster Major. That's where I met Jason Vlohm

0:27:36.280 --> 0:27:40.040
<v Speaker 2>at Atlantic Records. Besides that, I was I was an Electra.

0:27:40.440 --> 0:27:42.920
<v Speaker 2>Geffen at the time was kind of a sister label

0:27:42.960 --> 0:27:47.320
<v Speaker 2>of Innerscope I worked for. Before Atlantic, I worked for

0:27:47.359 --> 0:27:50.800
<v Speaker 2>Tag Records, which was the Atlantic Group, a startup label

0:27:51.040 --> 0:27:55.680
<v Speaker 2>started by Craig Callman. That folded. I kept on with Atlantic.

0:27:56.240 --> 0:27:58.480
<v Speaker 2>So I always love the independent spirit and that was

0:27:58.520 --> 0:28:03.639
<v Speaker 2>Saved Live. Save Live is independent run venues that go

0:28:03.840 --> 0:28:05.919
<v Speaker 2>up against cocin PEPSI.

0:28:06.800 --> 0:28:10.600
<v Speaker 1>Okay, let's go back. You do the initial festival in

0:28:10.720 --> 0:28:15.800
<v Speaker 1>partnership with AG. Are the rest of these festivals fully

0:28:15.840 --> 0:28:18.960
<v Speaker 1>independent or are they in partnership with AG or anybody else?

0:28:19.680 --> 0:28:26.760
<v Speaker 2>Yeah, they're fully independent, fully independent. The AEG partnership, as

0:28:26.840 --> 0:28:28.720
<v Speaker 2>things do in life, ran its course.

0:28:29.520 --> 0:28:29.680
<v Speaker 1>Uh.

0:28:29.800 --> 0:28:33.199
<v Speaker 2>There was a there was a divorce. I'm the child

0:28:33.280 --> 0:28:39.160
<v Speaker 2>of the divorce, you know. And when those festivals kind

0:28:39.200 --> 0:28:42.720
<v Speaker 2>of as things do, as festivals come and go, those

0:28:42.760 --> 0:28:46.160
<v Speaker 2>festivals had a great run, and that partnership had a

0:28:46.160 --> 0:28:48.640
<v Speaker 2>great run, and it dissolved. It was time to it

0:28:48.680 --> 0:28:53.200
<v Speaker 2>was time to separate, and I stayed on as the

0:28:53.240 --> 0:28:56.000
<v Speaker 2>head of Talent with DWP. So all the festivals that

0:28:56.040 --> 0:28:59.320
<v Speaker 2>I've mentioned to you, Welcome to Rockville, Louder than Life,

0:28:59.360 --> 0:29:03.960
<v Speaker 2>Bourbon and Beyond on Rock, Oklahoma, Sonic Temple, After Shock

0:29:04.000 --> 0:29:06.520
<v Speaker 2>are completely owned and operated by by DWP.

0:29:06.920 --> 0:29:12.160
<v Speaker 1>And where does the financing come for these festivals DWP?

0:29:12.920 --> 0:29:14.120
<v Speaker 1>So it's self financed.

0:29:14.880 --> 0:29:18.280
<v Speaker 2>Yeah, there's you know, there's there's investors, and not right

0:29:18.320 --> 0:29:19.800
<v Speaker 2>of me to talk about that right now.

0:29:20.800 --> 0:29:26.080
<v Speaker 1>Okay, So let's say you have these festivals. How far

0:29:26.120 --> 0:29:29.080
<v Speaker 1>in advanced you start planning for a festival.

0:29:29.720 --> 0:29:32.920
<v Speaker 2>That's a great question, because it's getting more the window,

0:29:32.960 --> 0:29:35.840
<v Speaker 2>the windows getting more and more. When we started, I

0:29:35.880 --> 0:29:37.920
<v Speaker 2>remember we used to announce like on Martin Luther King

0:29:38.000 --> 0:29:42.760
<v Speaker 2>Day in January for a May festival. And now we're

0:29:42.800 --> 0:29:45.120
<v Speaker 2>definitely in the in the back end of the year

0:29:45.160 --> 0:29:49.600
<v Speaker 2>before when we announce usually November December. So it's a

0:29:49.640 --> 0:29:55.280
<v Speaker 2>it's a three hundred and sixty five day siege we have.

0:29:55.920 --> 0:29:58.600
<v Speaker 2>You know, again, when you say Rock is dead, I'll

0:29:58.680 --> 0:30:01.760
<v Speaker 2>just tell you man two thousand in twenty five, because

0:30:01.760 --> 0:30:06.720
<v Speaker 2>twenty twenty four we're as we're so talent dependent. Kind

0:30:06.760 --> 0:30:09.680
<v Speaker 2>of a down you know, the thesis come in cycles.

0:30:09.800 --> 0:30:11.880
<v Speaker 2>It's kind of a down year for headliners. We actually

0:30:11.880 --> 0:30:16.280
<v Speaker 2>had to freaking reunite a metal band, Slayer. They're doing

0:30:16.280 --> 0:30:19.320
<v Speaker 2>three shows this year. Two of them are with us,

0:30:19.480 --> 0:30:22.360
<v Speaker 2>the other one's riot Fest in Chicago. So we like

0:30:22.840 --> 0:30:26.040
<v Speaker 2>helped put together Slayer again. So it's been kind of

0:30:26.040 --> 0:30:28.480
<v Speaker 2>a down year. And that happens. I mean you see

0:30:28.480 --> 0:30:31.560
<v Speaker 2>it at God if you remember last summer with Beyonce

0:30:31.720 --> 0:30:35.800
<v Speaker 2>and Taylor and Metallica, gn R and Green Day. How

0:30:35.800 --> 0:30:38.920
<v Speaker 2>many stadium tours are this year? So kind of a

0:30:38.960 --> 0:30:43.840
<v Speaker 2>down year. Twenty five feels great. We're in twenty five,

0:30:43.880 --> 0:30:44.840
<v Speaker 2>we're booking twenty five.

0:30:52.200 --> 0:30:56.000
<v Speaker 1>Let me go sideways for one second. You had the

0:30:56.040 --> 0:30:59.880
<v Speaker 1>Black Keys and Arenas that shut down, and you had

0:31:00.120 --> 0:31:03.280
<v Speaker 1>j Loo that shut down. Do we learn anything there?

0:31:04.800 --> 0:31:07.800
<v Speaker 2>Yeah, no, it's and I was talking to I still

0:31:07.840 --> 0:31:11.160
<v Speaker 2>like to talk to venues for my especially for festival research,

0:31:11.720 --> 0:31:15.680
<v Speaker 2>and it's kind of down this year, and especially Look,

0:31:15.720 --> 0:31:19.680
<v Speaker 2>I think rock and hip hop. I like to think

0:31:19.720 --> 0:31:21.880
<v Speaker 2>inflation has a lot to do with this, Bob. I

0:31:21.920 --> 0:31:26.680
<v Speaker 2>think we deal with paycheck to paycheck people that's the

0:31:26.720 --> 0:31:31.000
<v Speaker 2>core audience, you know, for for us at a at

0:31:31.000 --> 0:31:34.479
<v Speaker 2>a single GA ticket, I'm being really general. Say it's

0:31:34.520 --> 0:31:36.640
<v Speaker 2>one hundred and seventy five dollars, which to me is

0:31:36.680 --> 0:31:39.560
<v Speaker 2>great value because you say you have forty bands a day.

0:31:39.960 --> 0:31:42.600
<v Speaker 2>Do the math, it's like five it's less than five

0:31:43.000 --> 0:31:47.080
<v Speaker 2>five dollars a band. But these people have to decide,

0:31:47.120 --> 0:31:51.120
<v Speaker 2>like am I gonna buy Welcome to Rockville or fix

0:31:51.160 --> 0:31:56.000
<v Speaker 2>my carbureator. It's being very general. I have to you know,

0:31:56.040 --> 0:32:00.400
<v Speaker 2>I have to paint paint part of my house or

0:32:00.440 --> 0:32:04.520
<v Speaker 2>get that concert ticket. And I think people, I think

0:32:04.520 --> 0:32:09.240
<v Speaker 2>inflation is catching up, and I think you're seeing that around,

0:32:09.360 --> 0:32:13.400
<v Speaker 2>especially in rock and hip hop. That's what that's what

0:32:13.480 --> 0:32:16.920
<v Speaker 2>I'm getting for this year. So the strongest will survive.

0:32:17.320 --> 0:32:21.480
<v Speaker 2>The branded festivals I think are doing great. Dvp's having

0:32:21.520 --> 0:32:24.080
<v Speaker 2>a really good year. I'm not hyping you. It's it's

0:32:24.640 --> 0:32:29.560
<v Speaker 2>the record breaking year actually, because I think, Okay, I

0:32:29.600 --> 0:32:33.479
<v Speaker 2>think if you are a festival and you're starting and

0:32:33.520 --> 0:32:37.680
<v Speaker 2>you start with say you launch a new festival and

0:32:37.720 --> 0:32:41.040
<v Speaker 2>it's Siza and Noah Khan and Blink one ey two

0:32:41.200 --> 0:32:44.440
<v Speaker 2>and Gwen Stefani and Janelle Monet, like who are you

0:32:44.520 --> 0:32:47.320
<v Speaker 2>appealing to? But if you're at if you don't have

0:32:47.360 --> 0:32:51.600
<v Speaker 2>a these festivals, the root of the tree, the core

0:32:52.160 --> 0:32:55.560
<v Speaker 2>are rock festivals. You can go kind of left, you

0:32:55.600 --> 0:32:58.400
<v Speaker 2>know with Foo Fighters, Queens of the Stone Age. You

0:32:58.440 --> 0:33:02.600
<v Speaker 2>can go right with Mega Death and Lamba God and Slipknot.

0:33:03.040 --> 0:33:07.320
<v Speaker 2>You go center with Papa Roach and Shine Down Godsmack.

0:33:08.480 --> 0:33:10.800
<v Speaker 2>We're allowed to do that, but we're not. We don't

0:33:10.800 --> 0:33:13.760
<v Speaker 2>go for Megan Thee, Stallion and Sisa. We are rock

0:33:13.800 --> 0:33:16.479
<v Speaker 2>festivals and I think those are those are thriving because

0:33:16.520 --> 0:33:18.560
<v Speaker 2>they have their base. That's my take.

0:33:19.240 --> 0:33:24.360
<v Speaker 1>Okay, let's go back to the timeline. Let's say a

0:33:24.520 --> 0:33:29.040
<v Speaker 1>festival is going to play in May. How far in

0:33:29.120 --> 0:33:31.880
<v Speaker 1>advance will you start working on that festival?

0:33:36.680 --> 0:33:40.480
<v Speaker 2>May May twenty five? We were doing calls in January

0:33:40.520 --> 0:33:41.040
<v Speaker 2>twenty four.

0:33:42.760 --> 0:33:46.000
<v Speaker 1>Okay, on that What is the first step? Where does

0:33:46.080 --> 0:33:48.280
<v Speaker 1>talent come in putting on a festival?

0:33:49.760 --> 0:33:53.640
<v Speaker 2>Yeah? I love that question because for me, I'm a

0:33:53.640 --> 0:33:58.040
<v Speaker 2>big proponent of top down because for a couple of reasons,

0:33:58.520 --> 0:34:02.360
<v Speaker 2>if you have Metallica or you have the Food Fighters

0:34:02.800 --> 0:34:05.880
<v Speaker 2>and Metallica Metallica is their own genre, that's bad example,

0:34:05.920 --> 0:34:12.120
<v Speaker 2>because Metallica could play with anybody. If you have Pantera,

0:34:12.800 --> 0:34:16.279
<v Speaker 2>you have to curate and program a proper way. You know,

0:34:16.320 --> 0:34:20.400
<v Speaker 2>you can't get too cute and put Royal Blood with

0:34:20.400 --> 0:34:24.719
<v Speaker 2>with Pantera. If you have the food Fighters rightfully, so

0:34:25.400 --> 0:34:30.520
<v Speaker 2>they they come with a couple proper demands. Dave loves females,

0:34:31.360 --> 0:34:35.719
<v Speaker 2>so a band like the Pretty Reckless or Hailstorm is

0:34:35.760 --> 0:34:39.160
<v Speaker 2>great to get and represent on that day. They don't

0:34:39.320 --> 0:34:43.799
<v Speaker 2>like the fist clenching metal, although Dave is a big

0:34:43.840 --> 0:34:46.719
<v Speaker 2>fan of that, but food Fighter of the brand. So

0:34:46.840 --> 0:34:48.520
<v Speaker 2>you go Queen's of the Stone Age, you go Greta

0:34:48.600 --> 0:34:53.360
<v Speaker 2>van Fleet, you go Royal Blood. So you have to

0:34:53.480 --> 0:34:55.160
<v Speaker 2>so you have to stop the start at the top,

0:34:55.360 --> 0:34:57.680
<v Speaker 2>at the top and work your way down. I think

0:34:57.760 --> 0:35:00.120
<v Speaker 2>if not, you're going to be left with all all

0:35:00.120 --> 0:35:03.160
<v Speaker 2>these mid level bands and a very bloated budget, and

0:35:03.200 --> 0:35:04.080
<v Speaker 2>you got to be careful.

0:35:04.840 --> 0:35:07.440
<v Speaker 1>Let's start with the budget. Do you have a hard

0:35:07.520 --> 0:35:09.960
<v Speaker 1>budget before you start calling anybody?

0:35:11.560 --> 0:35:15.239
<v Speaker 2>Yes, but it's it's it's a moving target depending on

0:35:15.480 --> 0:35:20.600
<v Speaker 2>you know what this band. Like with Slayer, you want

0:35:20.600 --> 0:35:26.040
<v Speaker 2>to have security, I guess using that word. So if

0:35:26.120 --> 0:35:29.080
<v Speaker 2>you look at Aftershock, we got Slayer and Judas, we

0:35:29.160 --> 0:35:32.600
<v Speaker 2>got Slayer and Pantera. We got Iron Maiden, a band

0:35:32.600 --> 0:35:35.520
<v Speaker 2>that I've coveted, Danny and I and Delve coveted since

0:35:35.520 --> 0:35:38.319
<v Speaker 2>we started. There's two bands, by the way, that we

0:35:38.440 --> 0:35:41.680
<v Speaker 2>coveted and were down to one, and that that one

0:35:41.719 --> 0:35:44.800
<v Speaker 2>is raged against the machine and just cry and shame.

0:35:44.840 --> 0:35:48.080
<v Speaker 2>They're not an actual band right now. So normally you

0:35:48.080 --> 0:35:50.040
<v Speaker 2>would say, you know you got you got your headliner,

0:35:51.160 --> 0:35:56.160
<v Speaker 2>Slayer or Maiden, We're good, let's let's but we wanted

0:35:56.200 --> 0:35:58.600
<v Speaker 2>to really kind of hit them over the head with

0:35:58.640 --> 0:36:03.480
<v Speaker 2>a hammer. So we increase the top line budget and

0:36:03.520 --> 0:36:06.920
<v Speaker 2>with that, you're gonna probably have to increase your ticket price.

0:36:07.640 --> 0:36:11.200
<v Speaker 2>So that's the great catch twenty two, and that is

0:36:11.239 --> 0:36:15.399
<v Speaker 2>the great moment where festivals can outprice themselves because at

0:36:15.440 --> 0:36:19.439
<v Speaker 2>the end of the day, our boss is the fan.

0:36:19.920 --> 0:36:23.479
<v Speaker 2>Capital f capital, a capital end period, the fan will

0:36:23.480 --> 0:36:27.160
<v Speaker 2>speak and we'll know if we've outpriced. And I think

0:36:27.200 --> 0:36:29.960
<v Speaker 2>some festivals out there have like they look at the

0:36:29.960 --> 0:36:34.479
<v Speaker 2>ticket price and I'm taking a pass because this isn't

0:36:34.480 --> 0:36:40.520
<v Speaker 2>my festival. So yes, there's a budget, Yes we stick

0:36:40.600 --> 0:36:43.280
<v Speaker 2>to it religiously, and yes it's a moving target.

0:36:44.440 --> 0:36:50.560
<v Speaker 1>Okay, So let's say it's January of twenty four. You're

0:36:50.600 --> 0:36:55.200
<v Speaker 1>booking for May of twenty five before you call anybody,

0:36:55.280 --> 0:36:58.480
<v Speaker 1>do you plot out all four days?

0:36:59.080 --> 0:37:03.279
<v Speaker 2>You plot out your your your headliners. I do, we do.

0:37:04.800 --> 0:37:07.719
<v Speaker 2>And if it was like if it was pay for,

0:37:08.080 --> 0:37:11.960
<v Speaker 2>you know, you would go through a fucking notebook because

0:37:12.000 --> 0:37:13.600
<v Speaker 2>what you start with and what you end with are

0:37:13.640 --> 0:37:17.040
<v Speaker 2>two very different things. Those those grids that we live

0:37:17.080 --> 0:37:22.239
<v Speaker 2>by a change and they were we're booking. I'm telling you,

0:37:22.280 --> 0:37:25.000
<v Speaker 2>I don't. I can't speak for all festivals. We're booking

0:37:25.000 --> 0:37:28.120
<v Speaker 2>the usually the week the week before we announced too.

0:37:29.040 --> 0:37:32.040
<v Speaker 2>You're still in it. It is, it's it's wild because

0:37:32.200 --> 0:37:36.360
<v Speaker 2>festivals are different. You know. You you ask for more rightfully,

0:37:36.440 --> 0:37:40.399
<v Speaker 2>so you pay from You pay more money for two

0:37:40.480 --> 0:37:43.560
<v Speaker 2>main reasons. Bob, is you pay for the specialty of

0:37:43.640 --> 0:37:46.480
<v Speaker 2>the performance. We like to make it special. And you

0:37:46.520 --> 0:37:49.239
<v Speaker 2>pay for radius claus you know, like I said, those

0:37:49.280 --> 0:37:54.040
<v Speaker 2>feeder markets. We like to If you're playing Columbus Sonic Temple,

0:37:54.560 --> 0:37:56.480
<v Speaker 2>that's your play in the region.

0:37:58.320 --> 0:38:00.920
<v Speaker 1>Do all acts have the sea radius clause?

0:38:02.440 --> 0:38:04.920
<v Speaker 2>We like to kind of keep it case by case,

0:38:05.600 --> 0:38:09.160
<v Speaker 2>but it is a Pandora's box. We're really strict on radius.

0:38:09.440 --> 0:38:13.520
<v Speaker 2>Can't speak for other promoters, but it is case by case.

0:38:14.480 --> 0:38:16.520
<v Speaker 1>And how long a period of time and how many

0:38:16.600 --> 0:38:19.880
<v Speaker 1>miles will be the typical headliner or radius clause.

0:38:20.920 --> 0:38:27.360
<v Speaker 2>I'm more into state like, for example, sonic temples radius

0:38:27.400 --> 0:38:34.880
<v Speaker 2>states as in Ohio, Kentucky, West Virginia. That kind of

0:38:34.920 --> 0:38:37.920
<v Speaker 2>covers it. If you want to play outside of those,

0:38:38.200 --> 0:38:41.719
<v Speaker 2>we're probably cool. There's a couple markets that kind of

0:38:41.719 --> 0:38:44.520
<v Speaker 2>go into that two fifty to three hundred mile radius,

0:38:45.600 --> 0:38:49.040
<v Speaker 2>which is kind of the the industry standard.

0:38:49.480 --> 0:38:50.359
<v Speaker 1>And how long a.

0:38:50.320 --> 0:38:56.200
<v Speaker 2>Window you could announce you could play that show the

0:38:56.239 --> 0:39:00.080
<v Speaker 2>next day, as long as you announce the day you

0:39:00.120 --> 0:39:01.800
<v Speaker 2>can announce from our festival stage.

0:39:01.960 --> 0:39:04.560
<v Speaker 1>No, no, let me let me be clear. Okay, I'm

0:39:04.600 --> 0:39:09.120
<v Speaker 1>a band, I'm playing in Kentucky. How long until i

0:39:09.120 --> 0:39:10.440
<v Speaker 1>can play in Kentucky again?

0:39:14.160 --> 0:39:21.000
<v Speaker 2>Sixty to ninety ninety? It's kid's case by case, it's

0:39:21.040 --> 0:39:21.880
<v Speaker 2>sixty to ninety.

0:39:22.520 --> 0:39:26.280
<v Speaker 1>Okay, So let's go back to booking. Do you call

0:39:26.440 --> 0:39:30.200
<v Speaker 1>agents and see who's available for headliners? Or do you

0:39:30.200 --> 0:39:32.160
<v Speaker 1>make a list to who you want and then call

0:39:32.200 --> 0:39:34.520
<v Speaker 1>the agents.

0:39:34.280 --> 0:39:41.000
<v Speaker 2>Both were you know, we we've become that I there

0:39:41.080 --> 0:39:45.520
<v Speaker 2>isn't another company that does this amount of rock festivals

0:39:45.560 --> 0:39:50.560
<v Speaker 2>in North America of what our core is. So there

0:39:50.640 --> 0:39:52.719
<v Speaker 2>used to be a time when we started, when we

0:39:52.760 --> 0:39:56.799
<v Speaker 2>were getting on our knees to agents and managers like

0:39:56.840 --> 0:40:00.520
<v Speaker 2>what are you doing? What is this? And thanks to people,

0:40:00.600 --> 0:40:04.200
<v Speaker 2>I would say, people like Bill McGaffey and Ken from

0:40:04.200 --> 0:40:08.800
<v Speaker 2>Me Gush and Rick Roskin, early believers, Corey Brennan that

0:40:08.800 --> 0:40:12.560
<v Speaker 2>that got it, that got what we were doing. But

0:40:12.719 --> 0:40:15.799
<v Speaker 2>now we're we're in lockstep. We we have bands that

0:40:16.080 --> 0:40:21.680
<v Speaker 2>will literally create their their cycle around the festival. We

0:40:21.719 --> 0:40:25.000
<v Speaker 2>want to launch a single when you announce, we want

0:40:25.000 --> 0:40:29.799
<v Speaker 2>to put the street date on the festival date, do

0:40:29.320 --> 0:40:32.640
<v Speaker 2>and doing a meet and greet, a pop up in store.

0:40:33.239 --> 0:40:36.160
<v Speaker 2>So these rock bands have it's great. There's a great partnership.

0:40:36.239 --> 0:40:39.120
<v Speaker 2>I mean, I have so many examples, Bob, and I'll

0:40:39.200 --> 0:40:41.719
<v Speaker 2>use and I think you've you've talked to her, which

0:40:41.760 --> 0:40:43.360
<v Speaker 2>I love that you did. I think a couple of

0:40:43.400 --> 0:40:45.920
<v Speaker 2>years ago you reached out to Lizzie Hale of Hailstorm.

0:40:46.480 --> 0:40:49.600
<v Speaker 1>Actually I have not done a podcast with Lizzy Hale.

0:40:49.640 --> 0:40:52.719
<v Speaker 1>I'm certainly familiar with Hailstorm, but the pretty reckless Yes,

0:40:52.800 --> 0:40:53.319
<v Speaker 1>I've done that.

0:40:53.920 --> 0:40:57.759
<v Speaker 2>Yeah, I'll use Hailstorm. Example that was Bill mcgafey. He

0:40:58.320 --> 0:41:00.640
<v Speaker 2>stepped up for us. He called me and said, hey,

0:41:00.680 --> 0:41:03.000
<v Speaker 2>I want you to, you know, put a brand new

0:41:03.040 --> 0:41:07.120
<v Speaker 2>band that I just signed Kenya and am Mike. Who

0:41:07.200 --> 0:41:10.279
<v Speaker 2>is Bill? He's said the lead singers, A lead singer

0:41:10.320 --> 0:41:13.480
<v Speaker 2>is a girl, and the younger brothers the drummer, and

0:41:13.760 --> 0:41:15.800
<v Speaker 2>I hadn't heard a lick. I'm like, you know what, yes,

0:41:16.200 --> 0:41:17.960
<v Speaker 2>but in the band was Hailstorm. We put them on

0:41:18.000 --> 0:41:22.120
<v Speaker 2>at twelve thirty on the little stage and we loved him.

0:41:22.440 --> 0:41:25.800
<v Speaker 2>Two years later they headlined that stage. Two years later,

0:41:26.120 --> 0:41:29.359
<v Speaker 2>they're opening the main stage. Two years three years later

0:41:29.400 --> 0:41:31.720
<v Speaker 2>they're in the middle and they're one of our core bands.

0:41:31.800 --> 0:41:35.320
<v Speaker 2>We build this relationship, we have this. I've got Greta

0:41:35.400 --> 0:41:39.400
<v Speaker 2>van Fleet. Greta van Fleet. I got a demo tape

0:41:39.600 --> 0:41:43.440
<v Speaker 2>from an unsigned from Mark Giger and Ron Opeleski, and

0:41:43.560 --> 0:41:46.279
<v Speaker 2>it was two songs. It was the Flower Song in

0:41:46.360 --> 0:41:51.200
<v Speaker 2>Highway tune. I mean yes, its completely sounded like led Zeppelin,

0:41:51.239 --> 0:41:54.799
<v Speaker 2>and I'm like, let's go Yes, booked him for five

0:41:54.880 --> 0:41:58.840
<v Speaker 2>hundred dollars. I have the contract on my wall. You

0:41:58.920 --> 0:42:01.680
<v Speaker 2>got add a couple of zeros now to to get

0:42:01.680 --> 0:42:05.840
<v Speaker 2>credit of Anfleet, but they're worth it. I've got countless

0:42:05.840 --> 0:42:09.000
<v Speaker 2>stories of that and how we build these bands together

0:42:09.440 --> 0:42:13.640
<v Speaker 2>and they've become family, and how they've risen with us.

0:42:13.880 --> 0:42:17.160
<v Speaker 1>Let's go back to the top end. So what you're

0:42:17.280 --> 0:42:21.000
<v Speaker 1>saying is the agents are where that your festival is

0:42:21.080 --> 0:42:23.839
<v Speaker 1>going to play, and they're pitching you a little bit.

0:42:24.360 --> 0:42:29.040
<v Speaker 1>Do you also have dream talent that you just call

0:42:29.600 --> 0:42:31.960
<v Speaker 1>the manager of the agent and say this is our.

0:42:31.880 --> 0:42:36.080
<v Speaker 2>Vision totally Yes, yes, and we'll and we'll design a pitch.

0:42:37.360 --> 0:42:42.120
<v Speaker 2>I'll use I'll use our friend Cliff Bernstein. We weren't

0:42:42.200 --> 0:42:46.319
<v Speaker 2>ready for Metallica for many years. We had to we

0:42:46.360 --> 0:42:49.120
<v Speaker 2>had to build that trust, we had to build our brand.

0:42:50.960 --> 0:42:53.840
<v Speaker 2>So what we did there was other bands that Q

0:42:54.000 --> 0:42:58.680
<v Speaker 2>Prime has, three Days, Grace, Disturbed, put them on They're

0:42:59.480 --> 0:43:02.360
<v Speaker 2>they're they're down the middle, core bands for these festivals,

0:43:03.239 --> 0:43:08.920
<v Speaker 2>and he'd get word back like great crowd, great merch numbers.

0:43:09.640 --> 0:43:12.239
<v Speaker 2>These guys take care of us. That's one thing that

0:43:12.320 --> 0:43:15.759
<v Speaker 2>we knew from day one. If we're an independent, we

0:43:16.000 --> 0:43:19.920
<v Speaker 2>better go the extra mile backstage and front of house,

0:43:20.200 --> 0:43:23.680
<v Speaker 2>and we do like our We work our stage managers

0:43:23.719 --> 0:43:25.640
<v Speaker 2>and that crew to the core and there by Sunday

0:43:25.640 --> 0:43:28.960
<v Speaker 2>at eleven PM. These guys are so fried because we

0:43:29.040 --> 0:43:31.000
<v Speaker 2>go the extra mile and I go to a lot

0:43:31.000 --> 0:43:35.040
<v Speaker 2>of festivals, and yes, Coachella completely does it right for

0:43:35.080 --> 0:43:39.920
<v Speaker 2>the fan and for the band and for everybody. We

0:43:40.040 --> 0:43:43.279
<v Speaker 2>take notes of that. We've gone to Hellfest, We've taken

0:43:43.320 --> 0:43:45.640
<v Speaker 2>trips to download and rock and ring and walkin park

0:43:45.680 --> 0:43:47.680
<v Speaker 2>and see what some of these do and somewhat of

0:43:47.719 --> 0:43:51.280
<v Speaker 2>these festivals don't do. So we take care of these bands.

0:43:51.280 --> 0:43:55.319
<v Speaker 2>And Q Prime got wint to that. So tried for Metallica. No,

0:43:55.680 --> 0:43:58.520
<v Speaker 2>not this year, not this year. We almost had them

0:43:58.520 --> 0:44:00.440
<v Speaker 2>one year, but we ended up getting the Red Hot

0:44:00.520 --> 0:44:05.480
<v Speaker 2>Chili Peppers when they are Q Prime monumental booking for

0:44:05.600 --> 0:44:11.279
<v Speaker 2>us because that type of booking made sure that we

0:44:11.280 --> 0:44:14.239
<v Speaker 2>weren't just the slipknot of ND Sevenfold, who we love

0:44:15.719 --> 0:44:18.400
<v Speaker 2>hard rock metal festivals. We can go left and we

0:44:18.440 --> 0:44:21.120
<v Speaker 2>can go right. Red Hot Chili Peppers had an amazing

0:44:21.160 --> 0:44:27.759
<v Speaker 2>experience and Metallica was ready for us. So that's the

0:44:27.760 --> 0:44:30.759
<v Speaker 2>story of that dream scenario. We had to be ready

0:44:30.760 --> 0:44:31.080
<v Speaker 2>for them.

0:44:31.200 --> 0:44:34.960
<v Speaker 1>Okay, if these are four night festivals, how many a

0:44:35.120 --> 0:44:37.359
<v Speaker 1>list headliners does each festival need?

0:44:38.880 --> 0:44:43.400
<v Speaker 2>Well, we're four now, and that's the thing which it

0:44:43.480 --> 0:44:48.360
<v Speaker 2>makes it very hard, Bob, because if like for example,

0:44:48.520 --> 0:44:51.759
<v Speaker 2>in twenty one, we had the Foo Fighters done at

0:44:51.760 --> 0:44:55.080
<v Speaker 2>three of them up and announced, and one of the

0:44:55.120 --> 0:44:58.120
<v Speaker 2>saddest things in rock in the last couple decades was

0:44:58.120 --> 0:45:02.560
<v Speaker 2>Taylor Hawkins past and we couldn't I think they were

0:45:02.560 --> 0:45:07.760
<v Speaker 2>playing Lopaluza and a couple other festivals. We couldn't uh

0:45:08.239 --> 0:45:11.879
<v Speaker 2>replace them with Meghan the Stallion, you know, or Chance

0:45:11.960 --> 0:45:16.399
<v Speaker 2>the Rapper. We we we are rock festivals. So the

0:45:16.440 --> 0:45:19.080
<v Speaker 2>you are limited, it does it does make it harder.

0:45:19.239 --> 0:45:21.520
<v Speaker 2>Like I said, this has been a kind of a

0:45:21.600 --> 0:45:24.480
<v Speaker 2>down year for headliners. We got the foods for Rockville,

0:45:24.480 --> 0:45:28.960
<v Speaker 2>we got iron made in an aftershock, but we we

0:45:28.960 --> 0:45:30.520
<v Speaker 2>we had to kind of go back to the well

0:45:30.719 --> 0:45:36.040
<v Speaker 2>on some of some others. But yes, the headliner is key,

0:45:36.239 --> 0:45:38.240
<v Speaker 2>But I'm telling you these fans love Bulk.

0:45:39.560 --> 0:45:42.440
<v Speaker 1>Okay, But just to ask the question again, if there

0:45:42.480 --> 0:45:47.719
<v Speaker 1>are four nights, you have iron made in one night,

0:45:48.360 --> 0:45:53.160
<v Speaker 1>what caliber of status, economic status, and draw do the

0:45:53.200 --> 0:45:57.440
<v Speaker 1>other three nights need to have to make it work? Well?

0:45:57.480 --> 0:45:59.560
<v Speaker 2>Similar to to to the story I told you of

0:46:00.680 --> 0:46:02.480
<v Speaker 2>we had made in one night and then we did

0:46:02.880 --> 0:46:06.839
<v Speaker 2>you know a Slayer and Pantera for another night, so

0:46:06.880 --> 0:46:09.600
<v Speaker 2>you do kind of a you know, two A minuses

0:46:09.920 --> 0:46:13.920
<v Speaker 2>if you will, to stack it up, look a core

0:46:14.080 --> 0:46:20.959
<v Speaker 2>bands for us that our family, Slipknot Events, Sevenfold, Corn Disturbed.

0:46:21.480 --> 0:46:24.799
<v Speaker 2>You know you look at Spotify numbers like Undisturbed, I

0:46:24.800 --> 0:46:28.160
<v Speaker 2>think twenty two million monthly listeners. That they have a

0:46:28.200 --> 0:46:30.839
<v Speaker 2>couple of songs that are through the moon, the sound

0:46:30.840 --> 0:46:43.240
<v Speaker 2>of silence cover bigger than might Some people might think, Okay.

0:46:43.800 --> 0:46:48.440
<v Speaker 1>So let's just assume you have your headline level band.

0:46:48.560 --> 0:46:52.319
<v Speaker 1>You've locked those in. One question before I go down

0:46:52.360 --> 0:46:58.120
<v Speaker 1>the bill. You know, for a long time festivals had

0:46:58.360 --> 0:47:01.960
<v Speaker 1>exclusives and then just before were COVID, the same acts

0:47:02.000 --> 0:47:05.840
<v Speaker 1>seem to be headlining all the festivals. To what degree

0:47:06.320 --> 0:47:09.400
<v Speaker 1>do you want or not want multiple festivals for the

0:47:09.400 --> 0:47:10.520
<v Speaker 1>people you do book?

0:47:11.520 --> 0:47:16.480
<v Speaker 2>Yeah, we were into what's called bundle offers. If you

0:47:16.560 --> 0:47:20.080
<v Speaker 2>can get food Fighters or you can get Pantera for

0:47:20.120 --> 0:47:22.640
<v Speaker 2>a couple of them. But I will tell you these

0:47:22.680 --> 0:47:25.960
<v Speaker 2>fans are smart. They start seeing, oh that looks like

0:47:26.200 --> 0:47:28.279
<v Speaker 2>Loud of Them Life looks like Welcome to Rockville or

0:47:28.480 --> 0:47:32.120
<v Speaker 2>Louder than Life and after Shock. So we can't duplicate

0:47:32.160 --> 0:47:36.000
<v Speaker 2>too much, So we do our best to separate, but

0:47:36.320 --> 0:47:38.120
<v Speaker 2>it's good when you can get a band for a

0:47:38.160 --> 0:47:40.840
<v Speaker 2>couple of them. It's great when you can get a

0:47:40.880 --> 0:47:42.719
<v Speaker 2>band for one of them. We had Green Day for

0:47:42.800 --> 0:47:46.920
<v Speaker 2>Louder than Life. They're exclusive kind of Ohio Valley Play,

0:47:47.000 --> 0:47:52.640
<v Speaker 2>which is Kentucky, Ohio, West Virginia fucking great. So the

0:47:52.719 --> 0:47:58.920
<v Speaker 2>exclusive is great. Those are those are important, Love them expensive,

0:47:59.480 --> 0:48:00.720
<v Speaker 2>but love them.

0:48:00.800 --> 0:48:04.040
<v Speaker 1>Okay, but you've locked in your headliners? Where do you

0:48:04.120 --> 0:48:04.920
<v Speaker 1>go from there?

0:48:05.600 --> 0:48:08.560
<v Speaker 2>Right? So if you have again, if you have kind

0:48:08.600 --> 0:48:13.200
<v Speaker 2>of slipknot closing a night, you got to program appropriately,

0:48:15.160 --> 0:48:18.560
<v Speaker 2>and you could we like to kind of stretch the

0:48:18.880 --> 0:48:22.759
<v Speaker 2>fishing net as much as we can without sorry to

0:48:22.800 --> 0:48:25.120
<v Speaker 2>use cliches jumping the shark on a slip not day.

0:48:25.680 --> 0:48:30.160
<v Speaker 2>So then you go down and you know, mega death.

0:48:30.320 --> 0:48:33.000
<v Speaker 2>I'm just throwing bands out, Lamma God, there are tons

0:48:33.040 --> 0:48:35.279
<v Speaker 2>of them, and I'll tell you there there is a

0:48:35.440 --> 0:48:40.960
<v Speaker 2>nice crop of bands right there on the cusp in

0:48:41.000 --> 0:48:44.719
<v Speaker 2>our world, including and again you may never have heard

0:48:44.760 --> 0:48:46.640
<v Speaker 2>of these bands that I'm about to say, and that's okay,

0:48:47.080 --> 0:48:51.080
<v Speaker 2>but bands like bad Omens, they're about there. An arena act,

0:48:51.239 --> 0:48:55.480
<v Speaker 2>Bring me the Horizon, a data remember falling in Reverse

0:48:57.640 --> 0:49:00.239
<v Speaker 2>and sorry to the word. If I'm missing a couple

0:49:00.320 --> 0:49:02.480
<v Speaker 2>in that immediate world, you know, a band like Eis

0:49:02.560 --> 0:49:05.480
<v Speaker 2>nine Kills, who Metallica is taking out right now? There

0:49:05.520 --> 0:49:08.919
<v Speaker 2>is movement, there is there is traction in the rock

0:49:08.960 --> 0:49:13.640
<v Speaker 2>hard rock world. And these are bands that you know

0:49:13.800 --> 0:49:18.719
<v Speaker 2>are melodic and very heavy and not mainstream, but the

0:49:18.800 --> 0:49:21.400
<v Speaker 2>core knows them. If I just said ban Oben's falling

0:49:21.440 --> 0:49:24.160
<v Speaker 2>in reverse to a bunch of rock fans are like that,

0:49:24.320 --> 0:49:27.760
<v Speaker 2>that's that's that they think they could headline a festival.

0:49:28.480 --> 0:49:30.960
<v Speaker 2>And again, I could look at you and I bet

0:49:31.040 --> 0:49:32.480
<v Speaker 2>you may have never heard of bad Omens.

0:49:32.760 --> 0:49:36.000
<v Speaker 1>I have heard of those bands has been around for

0:49:36.080 --> 0:49:36.480
<v Speaker 1>a while.

0:49:37.080 --> 0:49:39.719
<v Speaker 2>Yeah, yeah, let's let's go back.

0:49:40.880 --> 0:49:44.080
<v Speaker 1>Let's talk about pricing. Can you buy a day ticket

0:49:44.120 --> 0:49:46.160
<v Speaker 1>or do you have to buy all four days?

0:49:47.960 --> 0:49:52.040
<v Speaker 2>We go four day tickets out of the shoot four

0:49:52.120 --> 0:49:56.520
<v Speaker 2>day tickets? Single day there was uh we we will

0:49:57.160 --> 0:50:01.320
<v Speaker 2>uh priced here. Rock Oklahoma will start as a weekend

0:50:01.360 --> 0:50:05.320
<v Speaker 2>because again that's such a camping festival. So again, ninety

0:50:05.320 --> 0:50:08.680
<v Speaker 2>percent of that festival are campers, so you know predominantly

0:50:08.719 --> 0:50:11.360
<v Speaker 2>they're gonna want to They're gonna want the weekend pass

0:50:11.800 --> 0:50:14.480
<v Speaker 2>and the single day at that particular festivals is kind

0:50:14.480 --> 0:50:19.040
<v Speaker 2>of minimal because it's Oklahoma, so it's pretty much Oklahoma City, Tulsa,

0:50:19.120 --> 0:50:22.160
<v Speaker 2>maybe Arkansas, and a couple other cities. So out of

0:50:22.200 --> 0:50:26.000
<v Speaker 2>the gate, we will go single day, single day, VIP,

0:50:27.360 --> 0:50:31.760
<v Speaker 2>four day, four day, VIP, four day ticket plus camping,

0:50:31.840 --> 0:50:34.440
<v Speaker 2>four day ticket plus hotel. So there are a ton

0:50:34.480 --> 0:50:35.239
<v Speaker 2>of tiers.

0:50:35.760 --> 0:50:39.520
<v Speaker 1>But you announce them sequentially. They don't all go on

0:50:39.680 --> 0:50:41.120
<v Speaker 1>sale the same time.

0:50:41.560 --> 0:50:42.839
<v Speaker 2>They go on sale at the same time.

0:50:42.920 --> 0:50:44.520
<v Speaker 1>They do go on sale at the same time.

0:50:44.840 --> 0:50:46.920
<v Speaker 2>Yes, and it's kind of good research. You can kind

0:50:46.920 --> 0:50:48.280
<v Speaker 2>of see that.

0:50:48.680 --> 0:50:48.840
<v Speaker 1>You know.

0:50:48.880 --> 0:50:53.640
<v Speaker 2>Look, Saturday is a protected play. I'm in quotes right

0:50:53.640 --> 0:50:58.880
<v Speaker 2>now because yes, it's it's not hard to do research

0:50:58.960 --> 0:51:01.160
<v Speaker 2>to know that if a guy's going a single day,

0:51:01.360 --> 0:51:04.120
<v Speaker 2>he's off work, he's not going to church or a

0:51:04.120 --> 0:51:07.120
<v Speaker 2>football game on Sunday. Saturday is a good concert day.

0:51:07.480 --> 0:51:13.840
<v Speaker 2>Friday is too, So Thursday the Friday, and Saturday can

0:51:13.840 --> 0:51:17.520
<v Speaker 2>outperform the Thursday Sunday. It's a delight when we see

0:51:17.520 --> 0:51:19.560
<v Speaker 2>the Sunday out performing a Friday or Saturday.

0:51:20.719 --> 0:51:25.400
<v Speaker 1>And once again I realize every festival is different. What

0:51:25.480 --> 0:51:26.600
<v Speaker 1>are the price ranges?

0:51:28.960 --> 0:51:32.160
<v Speaker 2>Okay, so if you go onto Aftershock festival dot Com,

0:51:32.880 --> 0:51:37.840
<v Speaker 2>which if it's okay, I'd like to do because every

0:51:37.840 --> 0:51:42.200
<v Speaker 2>festival is different, because every city is different. And one

0:51:42.200 --> 0:51:44.920
<v Speaker 2>thing I love that we do when you go on

0:51:44.960 --> 0:51:50.279
<v Speaker 2>this website is well, immediately try to grab email addresses.

0:51:51.320 --> 0:51:53.680
<v Speaker 2>It's for research, it's for being part of the family.

0:51:53.920 --> 0:51:58.160
<v Speaker 2>It's for merch discounts, it's for early ticket discounts.

0:51:58.840 --> 0:51:59.840
<v Speaker 1>You know. We like that.

0:52:00.080 --> 0:52:02.520
<v Speaker 2>Again, fan is our boss. We like to ask them

0:52:02.520 --> 0:52:04.920
<v Speaker 2>what bands they want to see next year, what bands

0:52:04.920 --> 0:52:11.040
<v Speaker 2>they liked this year. Love the comments. So you're going

0:52:11.120 --> 0:52:14.440
<v Speaker 2>on aftershock dot com and well, let's.

0:52:14.280 --> 0:52:17.880
<v Speaker 1>Go with the email. Let's say I register for the email.

0:52:18.560 --> 0:52:21.080
<v Speaker 1>How often am I going to hear from you? And

0:52:21.160 --> 0:52:22.360
<v Speaker 1>what's going to be the content?

0:52:23.640 --> 0:52:26.399
<v Speaker 2>Uh, it's everything, It's it's Uh. You'll hear from us

0:52:26.480 --> 0:52:29.600
<v Speaker 2>on uh on a on a on a band that's performing,

0:52:29.640 --> 0:52:31.880
<v Speaker 2>that has a record coming out. You'll hear from us

0:52:31.920 --> 0:52:34.040
<v Speaker 2>on an interview that we did. We have our own

0:52:34.040 --> 0:52:38.080
<v Speaker 2>social media and video team and content. Uh, you'll hear

0:52:38.120 --> 0:52:41.480
<v Speaker 2>from us on on updates. You know, if if a

0:52:41.560 --> 0:52:45.360
<v Speaker 2>band has to drop and we replace, you'll be first

0:52:45.360 --> 0:52:53.120
<v Speaker 2>to know. So going back on on tickets, let's see

0:52:53.239 --> 0:52:57.200
<v Speaker 2>a a weekend, four day it's again I'm not I'm

0:52:57.200 --> 0:53:00.359
<v Speaker 2>not giving away seekers. It's right online we can four

0:53:00.440 --> 0:53:06.080
<v Speaker 2>day is around is around five hundred dollars, so it's

0:53:06.120 --> 0:53:08.840
<v Speaker 2>it comes out to be, you know, a little over

0:53:08.960 --> 0:53:13.480
<v Speaker 2>one hundred and change a day, okay.

0:53:13.680 --> 0:53:16.160
<v Speaker 1>And how much is VIP and what do you get

0:53:16.200 --> 0:53:16.840
<v Speaker 1>for VIP?

0:53:18.840 --> 0:53:23.480
<v Speaker 2>It depends. We have certain different VIPs. One standard VIP

0:53:23.680 --> 0:53:26.560
<v Speaker 2>will be a dedicated entrance will be access to the

0:53:26.640 --> 0:53:31.480
<v Speaker 2>VIP lounge, which usually is tree shaded furniture, live audio,

0:53:31.760 --> 0:53:35.520
<v Speaker 2>video streams of the main stages, water refill air conditioning

0:53:35.880 --> 0:53:43.000
<v Speaker 2>and flushable restrooms dedicated for merch, boose, private lockers, premium

0:53:43.040 --> 0:53:47.160
<v Speaker 2>food and drink offerings. And then there's there's this different

0:53:47.160 --> 0:53:47.759
<v Speaker 2>tiers on that.

0:53:49.000 --> 0:53:53.439
<v Speaker 1>Okay, you were talking earlier. One hundred and seventy five

0:53:53.480 --> 0:53:57.400
<v Speaker 1>dollars and five dollars of band were you talking about

0:53:57.560 --> 0:53:59.279
<v Speaker 1>for four days or for one day?

0:53:59.600 --> 0:54:02.320
<v Speaker 2>By the way, that's including fees. We don't hide fees.

0:54:02.920 --> 0:54:05.120
<v Speaker 2>So it's right there again on the website.

0:54:05.840 --> 0:54:07.880
<v Speaker 1>But the example you were giving for one hundred and

0:54:07.920 --> 0:54:10.440
<v Speaker 1>seventy five dollars, is that a real price for one

0:54:10.440 --> 0:54:11.480
<v Speaker 1>of these festivals?

0:54:11.840 --> 0:54:12.760
<v Speaker 2>Yeah?

0:54:12.800 --> 0:54:14.760
<v Speaker 1>And for one day or for four days.

0:54:14.920 --> 0:54:17.680
<v Speaker 2>That's single day ticket, single day ticket.

0:54:17.719 --> 0:54:21.120
<v Speaker 1>Okay. So generally speaking, you're in the same price range

0:54:21.120 --> 0:54:22.200
<v Speaker 1>as other festivals.

0:54:23.480 --> 0:54:26.279
<v Speaker 2>I think so. But God, the value that we offer

0:54:26.480 --> 0:54:27.319
<v Speaker 2>to the rock fan.

0:54:28.760 --> 0:54:32.520
<v Speaker 1>Okay, let's go. Let's stay as I'm looking at the aftershock.

0:54:33.040 --> 0:54:37.040
<v Speaker 1>You know on Thursday you have Slayer, well known, tell

0:54:37.080 --> 0:54:41.440
<v Speaker 1>me about Linda Man. Who's the next is built under Slayer?

0:54:42.320 --> 0:54:49.479
<v Speaker 2>That is Till of Romstein. Yeah, so the again, the core, well,

0:54:49.480 --> 0:54:50.400
<v Speaker 2>we'll know who that is.

0:54:52.000 --> 0:54:55.160
<v Speaker 1>Okay. If we go to the bottom of that stage

0:54:55.840 --> 0:54:58.000
<v Speaker 1>like a storm, what time will they go on? And

0:54:58.040 --> 0:54:58.640
<v Speaker 1>who are they?

0:54:59.480 --> 0:55:03.120
<v Speaker 2>One o'clock cash? Like a storm is from down Under?

0:55:05.400 --> 0:55:09.719
<v Speaker 2>Funny enough? Fun fact? The drummer is the son of

0:55:10.400 --> 0:55:13.040
<v Speaker 2>Godsmax co manager. Fun fact.

0:55:13.320 --> 0:55:20.080
<v Speaker 1>Okay, there are all these bands. There's like sixty to

0:55:20.120 --> 0:55:21.040
<v Speaker 1>one hundred.

0:55:20.719 --> 0:55:22.600
<v Speaker 2>Bands of good bands. Man.

0:55:22.760 --> 0:55:26.120
<v Speaker 1>Yeah, if I talk to you Gary and I say,

0:55:26.160 --> 0:55:31.480
<v Speaker 1>we're booking sixteen months out, okay, and we look at

0:55:31.480 --> 0:55:35.200
<v Speaker 1>the we start from day one in January of twenty

0:55:35.239 --> 0:55:39.400
<v Speaker 1>twenty four, and the show plays on May of twenty

0:55:39.480 --> 0:55:44.600
<v Speaker 1>twenty five. Will you already know? You personally? Will you

0:55:44.719 --> 0:55:49.160
<v Speaker 1>already know? In January twenty four? Every band that's playing

0:55:49.360 --> 0:55:51.719
<v Speaker 1>sixteen months later, or some of these new to you.

0:55:53.000 --> 0:55:57.040
<v Speaker 2>Oh, some of these are art brand new. And looking

0:55:57.080 --> 0:56:00.640
<v Speaker 2>at this list, there's a scene that's happened that we

0:56:01.440 --> 0:56:05.760
<v Speaker 2>got into and we booked later than normal, which includes

0:56:05.840 --> 0:56:11.080
<v Speaker 2>Drain and Drug Church and gel and Military Gun. There

0:56:11.280 --> 0:56:13.480
<v Speaker 2>there's a new scene popping up and it's kind of like.

0:56:13.719 --> 0:56:16.440
<v Speaker 2>The leaders of that scene is a band called Turnstile,

0:56:17.120 --> 0:56:21.960
<v Speaker 2>who I adore. That's another tremendous d DWP story. I

0:56:22.040 --> 0:56:26.879
<v Speaker 2>found them on YouTube and the manager now is still

0:56:26.880 --> 0:56:29.320
<v Speaker 2>their manager. It's become a very dear friend of ours.

0:56:30.120 --> 0:56:34.760
<v Speaker 2>It's their Turnstile. At the time was like Fugazi meets

0:56:34.920 --> 0:56:38.120
<v Speaker 2>Green Day Ors. It was just they were doing shows

0:56:38.120 --> 0:56:43.960
<v Speaker 2>in gymnasiums and like rec centers. So there's there's a

0:56:44.000 --> 0:56:47.800
<v Speaker 2>real scene. So we grabbed onto this current scene again.

0:56:48.080 --> 0:56:52.920
<v Speaker 2>The leaders of this I don't know al core. Somebody's

0:56:52.960 --> 0:56:55.919
<v Speaker 2>gonna yell at me from probably not saying the genre right,

0:56:56.520 --> 0:57:00.879
<v Speaker 2>but looking looking at the poster of Aftershock, we wanted

0:57:00.880 --> 0:57:04.000
<v Speaker 2>to make sure that scene was really kind of taken

0:57:04.040 --> 0:57:05.240
<v Speaker 2>care of an account.

0:57:04.920 --> 0:57:08.520
<v Speaker 1>For okay, broaden that what other bands were in that scene?

0:57:09.400 --> 0:57:14.360
<v Speaker 2>All right, I'd go, let's say Drain Drug Church, flesh Water,

0:57:14.560 --> 0:57:17.120
<v Speaker 2>look out for Fleshwater Gel.

0:57:17.320 --> 0:57:21.360
<v Speaker 1>Okay, every band, every band is incomparable. But what does

0:57:21.400 --> 0:57:22.720
<v Speaker 1>fresh water sound like?

0:57:23.280 --> 0:57:30.360
<v Speaker 2>Fleshwater sound female lead from Los Angeles actually, which isn't

0:57:30.400 --> 0:57:33.480
<v Speaker 2>which is kind of unusual for this scene. Theyough military

0:57:33.480 --> 0:57:37.720
<v Speaker 2>guns from Los Angeles too, What do they sound like?

0:57:38.520 --> 0:57:47.560
<v Speaker 2>They sound like Green Day meets Damn It Bomb, green

0:57:47.680 --> 0:57:56.480
<v Speaker 2>Day meets Mastodon. There's there's punk, there's metal, and there's

0:57:56.520 --> 0:58:01.320
<v Speaker 2>alternative in this in this kind of movement.

0:58:01.560 --> 0:58:05.560
<v Speaker 1>Okay, so in this movement, the audience that's aware of

0:58:05.600 --> 0:58:09.040
<v Speaker 1>this movement, how are they discovering this movement?

0:58:09.920 --> 0:58:14.600
<v Speaker 2>It's it's uh a fall on word of mouth, social media,

0:58:15.720 --> 0:58:19.800
<v Speaker 2>di I y shows. I know, I know a promoter

0:58:19.960 --> 0:58:22.880
<v Speaker 2>whose name is Casey Smith who handles things like the

0:58:22.920 --> 0:58:28.520
<v Speaker 2>Catalyst in Santa Cruz and and venues in Berkeley and

0:58:28.800 --> 0:58:33.040
<v Speaker 2>up and down coastal California. This they're Santa Cruz. The

0:58:33.040 --> 0:58:35.480
<v Speaker 2>Santa Cruz area is eating it up. It's it's a

0:58:35.520 --> 0:58:40.720
<v Speaker 2>skate rap mentality, but there's but there's metal in it.

0:58:40.720 --> 0:58:43.720
<v Speaker 2>It's it's really unique and they and what I love

0:58:43.760 --> 0:58:46.800
<v Speaker 2>about this genre more than most is they like look

0:58:46.840 --> 0:58:49.200
<v Speaker 2>out for each other. If when Drain or Drug Church

0:58:49.280 --> 0:58:51.640
<v Speaker 2>is playing, every band of that scene is on the

0:58:51.640 --> 0:58:54.280
<v Speaker 2>side of stage watching them and rooting for them, and

0:58:54.280 --> 0:58:57.360
<v Speaker 2>they take each other out, which I feel rock needs

0:58:57.360 --> 0:58:57.600
<v Speaker 2>more of.

0:58:59.360 --> 0:59:03.200
<v Speaker 1>Okay, so if flesh Water is playing your festival, that's

0:59:03.240 --> 0:59:07.280
<v Speaker 1>one thing. If they're not playing your festival, how many

0:59:07.280 --> 0:59:09.560
<v Speaker 1>tickets can they sell them? Where can they sell them?

0:59:10.600 --> 0:59:15.480
<v Speaker 2>They're doing They're thousand plus now they're moving. One of

0:59:15.520 --> 0:59:17.840
<v Speaker 2>the last things I booked with Save Live was a

0:59:17.880 --> 0:59:21.880
<v Speaker 2>Fleshwater show in Oklahoma City. It's called beer City Music

0:59:21.920 --> 0:59:27.240
<v Speaker 2>Hall five hundred that went clean. And that's and they're

0:59:27.240 --> 0:59:31.800
<v Speaker 2>from Los Angeles, So there's a movement. There's a movement.

0:59:32.080 --> 0:59:35.800
<v Speaker 1>Okay, let's say you're one of these bands in these movements.

0:59:36.920 --> 0:59:39.040
<v Speaker 1>Can you work every night of the week if you

0:59:39.120 --> 0:59:43.320
<v Speaker 1>want to? Is there a big enough audience across the country. Yeah?

0:59:43.600 --> 0:59:47.680
<v Speaker 2>Yeah, And again they play like they don't play big places,

0:59:48.360 --> 0:59:50.640
<v Speaker 2>and they're in you know, they're doing at hardcore, they're

0:59:50.640 --> 0:59:54.480
<v Speaker 2>in vans, they're sleeping at friends houses. It's a real

0:59:54.560 --> 0:59:58.080
<v Speaker 2>kind of punk diy mentality. And I know for a

0:59:58.120 --> 1:00:01.280
<v Speaker 2>factor and style was living on couches. Another when they

1:00:01.360 --> 1:00:04.120
<v Speaker 2>launch in twenty five they're playing Madison Square Garden in

1:00:04.160 --> 1:00:04.640
<v Speaker 2>the forum.

1:00:05.280 --> 1:00:08.600
<v Speaker 1>Okay, So I think it used to be a joke

1:00:08.680 --> 1:00:12.160
<v Speaker 1>when people would get a festival slot, and especially in

1:00:12.240 --> 1:00:14.520
<v Speaker 1>early slot twelve for one, and think that it could

1:00:14.560 --> 1:00:17.800
<v Speaker 1>help their career other than saying they played the festival

1:00:18.320 --> 1:00:23.560
<v Speaker 1>with so many fewer avenues of exposure. To what degreed

1:00:23.720 --> 1:00:25.960
<v Speaker 1>does playing one of your festivals. I'm talking about a

1:00:26.000 --> 1:00:29.960
<v Speaker 1>starting band, to what degree might that help their career?

1:00:30.760 --> 1:00:34.280
<v Speaker 2>I pull bands aside Bob at these festivals and say,

1:00:34.720 --> 1:00:37.640
<v Speaker 2>look what you do for your thirty to forty minutes

1:00:38.120 --> 1:00:41.840
<v Speaker 2>at one thirty is not why you're here. You know,

1:00:41.960 --> 1:00:45.440
<v Speaker 2>put on your best show, leave the blood on the stage.

1:00:45.720 --> 1:00:48.880
<v Speaker 2>But you get involved in our media. We have media tents,

1:00:50.000 --> 1:00:53.480
<v Speaker 2>use our press, go see other bands. I know countless

1:00:53.480 --> 1:00:55.640
<v Speaker 2>stories of young bands that have played at one thirty

1:00:55.880 --> 1:00:59.320
<v Speaker 2>that have gotten onto support slots from bigger bands because

1:00:59.320 --> 1:01:02.080
<v Speaker 2>of our festival. And that's a perception thing. You know,

1:01:02.120 --> 1:01:05.240
<v Speaker 2>you're you're on the poster, You're on the poster with Metallica,

1:01:05.480 --> 1:01:09.160
<v Speaker 2>You're on the poster with food Fighters. You know, like

1:01:09.360 --> 1:01:11.480
<v Speaker 2>when when they're when they're when an agent or managers

1:01:11.520 --> 1:01:14.840
<v Speaker 2>pitching their young band perform with food fighters.

1:01:23.720 --> 1:01:26.840
<v Speaker 1>What's the headliner worth money wise?

1:01:29.080 --> 1:01:29.520
<v Speaker 2>Yeah?

1:01:29.560 --> 1:01:34.360
<v Speaker 1>Come on, now, okay, has the price to what degree

1:01:34.400 --> 1:01:38.640
<v Speaker 1>have you seen price inflation since COVID or has it

1:01:38.720 --> 1:01:39.520
<v Speaker 1>stayed steady?

1:01:40.480 --> 1:01:43.720
<v Speaker 2>Now it's look, it's it's it's gone up. Part of

1:01:43.760 --> 1:01:50.840
<v Speaker 2>it's justifiable because of look, the gas for their tour

1:01:50.880 --> 1:01:55.800
<v Speaker 2>buses are more. There was a problem post COVID, right

1:01:55.800 --> 1:02:00.000
<v Speaker 2>out of COVID with crews and people took different career

1:02:00.080 --> 1:02:02.959
<v Speaker 2>year pass who were you know, working as a tech

1:02:03.080 --> 1:02:06.240
<v Speaker 2>or a roadie or and they they moved on and

1:02:06.280 --> 1:02:09.320
<v Speaker 2>those are became kind of scarce, so you pay them

1:02:09.480 --> 1:02:13.240
<v Speaker 2>appropriately because man, a good a good tour manager, a

1:02:13.280 --> 1:02:17.720
<v Speaker 2>good sound person is priceless, right, So their cost have

1:02:17.800 --> 1:02:23.760
<v Speaker 2>gone up and therefore that's that's the justifiable part. The

1:02:23.880 --> 1:02:29.800
<v Speaker 2>other part is a problem, and you know the the

1:02:30.080 --> 1:02:33.360
<v Speaker 2>and and all I could say to that is who's

1:02:33.400 --> 1:02:37.080
<v Speaker 2>going to speak the loudest will be the fan and

1:02:37.280 --> 1:02:38.920
<v Speaker 2>there will there can be an implosion.

1:02:39.240 --> 1:02:39.400
<v Speaker 1>You know.

1:02:39.440 --> 1:02:41.440
<v Speaker 2>It kind of reminds me if you remember of the

1:02:41.520 --> 1:02:45.320
<v Speaker 2>record label days when in promoting with the independence, where

1:02:45.360 --> 1:02:49.840
<v Speaker 2>they just started gouging and gouging and increasing their rates

1:02:50.120 --> 1:02:53.160
<v Speaker 2>where it just got to be enough. There was there wasn't.

1:02:53.200 --> 1:02:56.080
<v Speaker 2>That wasn't a fan element. But I think there is

1:02:56.120 --> 1:02:58.200
<v Speaker 2>a is there. There can be a breaking point, and

1:02:58.240 --> 1:03:00.680
<v Speaker 2>we're starting to see that, you know, as some of

1:03:00.720 --> 1:03:03.760
<v Speaker 2>these festivals are going away. Some of those tours like

1:03:03.800 --> 1:03:07.720
<v Speaker 2>the Black Keys and j LO are are not happening.

1:03:08.720 --> 1:03:11.400
<v Speaker 2>So I think there's a breaking point.

1:03:11.560 --> 1:03:16.240
<v Speaker 1>If I'm opening on one of your stages in one

1:03:16.280 --> 1:03:18.680
<v Speaker 1>of your four days, that's still five hundred to fifteen

1:03:18.720 --> 1:03:19.680
<v Speaker 1>hundred dollars.

1:03:21.480 --> 1:03:23.240
<v Speaker 2>Sure, yeah, maybe a little.

1:03:22.960 --> 1:03:27.200
<v Speaker 1>More, okay? And how did the prices go up? How

1:03:27.880 --> 1:03:30.160
<v Speaker 1>close to the headliner's performance do I have to be

1:03:30.280 --> 1:03:31.440
<v Speaker 1>for it to be real money?

1:03:33.080 --> 1:03:37.800
<v Speaker 2>Look, we never have an issue. If I can, I'll

1:03:37.800 --> 1:03:41.560
<v Speaker 2>give the grid event Fleet example, because it's a good one,

1:03:41.680 --> 1:03:43.160
<v Speaker 2>you know, with the first time we booked them was

1:03:43.200 --> 1:03:50.680
<v Speaker 2>for five hundred dollars and they were totally buzzing. Fun story.

1:03:50.520 --> 1:03:53.960
<v Speaker 2>The last show of the run was Aftershock, which was

1:03:54.200 --> 1:03:57.480
<v Speaker 2>which was that payday, and they had a one point

1:03:57.480 --> 1:04:00.720
<v Speaker 2>thirty slot by this time in October of that cycle,

1:04:01.120 --> 1:04:04.080
<v Speaker 2>they were bigger there. And I'm going in quotes again,

1:04:04.280 --> 1:04:07.720
<v Speaker 2>their van broke down on the way to Aftershock and

1:04:07.760 --> 1:04:12.720
<v Speaker 2>they couldn't get there till six o'clock at night, and

1:04:13.240 --> 1:04:16.800
<v Speaker 2>of course we're all, okay, that's that's a good one.

1:04:17.120 --> 1:04:19.400
<v Speaker 2>And to this day I've talked to them and their

1:04:19.440 --> 1:04:21.360
<v Speaker 2>people like all right, just cop to it. Did your

1:04:21.400 --> 1:04:23.880
<v Speaker 2>and literally their van did break down, that's a true story,

1:04:24.760 --> 1:04:26.919
<v Speaker 2>but we're like, you got to play. So we worked

1:04:26.960 --> 1:04:31.640
<v Speaker 2>it out where they headlined the side stage at like

1:04:31.760 --> 1:04:35.040
<v Speaker 2>eight thirty pm and the only lights they had were

1:04:35.080 --> 1:04:37.800
<v Speaker 2>these kind of Christmas lights from their from their van.

1:04:37.920 --> 1:04:41.000
<v Speaker 2>It was it was adorable, but they had this great show.

1:04:41.080 --> 1:04:44.080
<v Speaker 2>So obviously we started a great relationship with that band.

1:04:44.120 --> 1:04:49.600
<v Speaker 2>And the next time, next cycle, their agent was like, okay,

1:04:49.640 --> 1:04:52.200
<v Speaker 2>you know, I know what you paid. Here's the number now,

1:04:52.640 --> 1:04:56.000
<v Speaker 2>and we're like, that's really high. But you know what

1:04:56.640 --> 1:04:59.480
<v Speaker 2>we're in because we there's no such Bob, there's no

1:04:59.520 --> 1:05:01.960
<v Speaker 2>such thing as a bad band, just a bad deal.

1:05:02.320 --> 1:05:04.440
<v Speaker 2>I didn't make that one up. That is an industry

1:05:05.080 --> 1:05:09.520
<v Speaker 2>that's an industry classic. So if the band's worth it,

1:05:09.680 --> 1:05:10.280
<v Speaker 2>we'll pay it.

1:05:12.080 --> 1:05:16.920
<v Speaker 1>Generally speaking, you're booking so many bands, how many times

1:05:17.320 --> 1:05:19.160
<v Speaker 1>or maybe one hundred percent of the time are you

1:05:19.320 --> 1:05:22.960
<v Speaker 1>negotiating the price. It's like going in to buy a car.

1:05:23.320 --> 1:05:26.720
<v Speaker 1>The car salesman says the car is fifty thousand dollars.

1:05:27.040 --> 1:05:30.480
<v Speaker 1>There's not a buyer in the world to say I'm

1:05:30.520 --> 1:05:35.120
<v Speaker 1>taking it. Okay, they're going to counter offer? To what

1:05:35.280 --> 1:05:37.560
<v Speaker 1>degree when you're booking this talent? Is it a matter

1:05:37.600 --> 1:05:39.920
<v Speaker 1>of kinnter offering getting to the number or to what

1:05:40.040 --> 1:05:41.840
<v Speaker 1>degree is it I'll take it.

1:05:43.000 --> 1:05:46.320
<v Speaker 2>Sure, there's a negotiation, there should be. You know where

1:05:46.640 --> 1:05:50.440
<v Speaker 2>I'm not a big quote price sky what's your quote?

1:05:50.520 --> 1:05:53.520
<v Speaker 2>What do you guys? You know, cause yes, if they

1:05:53.960 --> 1:05:57.440
<v Speaker 2>if they say one hundred is their quote and you

1:05:57.560 --> 1:06:01.240
<v Speaker 2>know they're worth half that. So look, you got to

1:06:01.240 --> 1:06:03.000
<v Speaker 2>do your research. You got to you got to do

1:06:03.040 --> 1:06:07.439
<v Speaker 2>your analytics. What what's the Spotify number? What's the I'm

1:06:07.440 --> 1:06:10.400
<v Speaker 2>a I'm a big YouTube guy because it's where I

1:06:10.440 --> 1:06:13.360
<v Speaker 2>live in a visual medium. So when I see a

1:06:13.400 --> 1:06:16.080
<v Speaker 2>new band, or I get send a new band like

1:06:16.200 --> 1:06:19.120
<v Speaker 2>please send me, Please send me your best video link,

1:06:20.040 --> 1:06:22.000
<v Speaker 2>or I could just find it on YouTube anyway, which

1:06:22.040 --> 1:06:25.480
<v Speaker 2>I do so, but I want to see what they

1:06:25.560 --> 1:06:27.439
<v Speaker 2>look like. I want to see their visuals. I want

1:06:27.440 --> 1:06:29.680
<v Speaker 2>to see and I want to see how they present themselves.

1:06:29.680 --> 1:06:33.000
<v Speaker 2>I want to see what the crowd's like. And then yeah,

1:06:33.040 --> 1:06:37.439
<v Speaker 2>the analytics of everything from Spotify, TikTok, Instagram, what what's

1:06:37.440 --> 1:06:40.360
<v Speaker 2>your what's your what's your followers, what's your monthly listeners?

1:06:41.440 --> 1:06:44.080
<v Speaker 2>And then the big one for me is hard tickets.

1:06:44.680 --> 1:06:48.560
<v Speaker 2>You know what's and I know that now because of

1:06:48.600 --> 1:06:51.000
<v Speaker 2>my m B A I got with with Save Live

1:06:51.520 --> 1:06:56.120
<v Speaker 2>of of two years plus working the heart ticket venue world.

1:06:56.520 --> 1:06:59.000
<v Speaker 2>I know when I'm getting hyped h and I know

1:06:59.040 --> 1:07:01.880
<v Speaker 2>a band's worth so hard tickets a hard ticket value

1:07:02.600 --> 1:07:04.960
<v Speaker 2>combined with all the spokes in the wheel I just

1:07:05.000 --> 1:07:09.840
<v Speaker 2>mentioned and radio airplay, and who's their team? You know,

1:07:10.480 --> 1:07:14.600
<v Speaker 2>I know good agents, I know good managers, I know

1:07:14.680 --> 1:07:18.080
<v Speaker 2>good lawyers, and I want to see who they've been

1:07:18.080 --> 1:07:22.680
<v Speaker 2>out with. So all that combined kind of let's well,

1:07:22.920 --> 1:07:25.960
<v Speaker 2>we have a line like we're this band's great. I

1:07:26.000 --> 1:07:28.520
<v Speaker 2>love this band, this great song. All right, let's dive

1:07:28.560 --> 1:07:31.840
<v Speaker 2>into it. Let's look at the analytics and even if

1:07:31.880 --> 1:07:34.360
<v Speaker 2>it's really young and the numbers aren't great, and you

1:07:34.520 --> 1:07:37.800
<v Speaker 2>still love it. You know, I remember the years ago.

1:07:37.880 --> 1:07:41.280
<v Speaker 2>I can la times. Paul to let have a quote,

1:07:41.400 --> 1:07:43.200
<v Speaker 2>He's like why why? The question is why did you

1:07:43.200 --> 1:07:45.480
<v Speaker 2>book that band? Like? I booked that band because I

1:07:45.560 --> 1:07:49.240
<v Speaker 2>liked them. They're cool and that's great, and we do

1:07:49.360 --> 1:07:52.920
<v Speaker 2>that like this, SPAN's cool. I like it. That was

1:07:52.920 --> 1:07:53.800
<v Speaker 2>that was turnstile.

1:07:54.120 --> 1:07:58.160
<v Speaker 1>Okay, So when you decide you want someone, you get

1:07:58.200 --> 1:07:59.840
<v Speaker 1>a hold of the agent, you make an offer.

1:08:01.280 --> 1:08:04.480
<v Speaker 2>Yeah, or they're already hitting us at this at this

1:08:04.520 --> 1:08:09.280
<v Speaker 2>point in our in our in our careers. And yeah,

1:08:09.360 --> 1:08:14.120
<v Speaker 2>we take the submission lists seriously. We we know batting,

1:08:14.160 --> 1:08:17.519
<v Speaker 2>we know batting averages. You know, there's certain agents like

1:08:17.560 --> 1:08:21.160
<v Speaker 2>at Kirk Summer, like the guy doesn't miss you know

1:08:21.280 --> 1:08:25.599
<v Speaker 2>his from from the Killers to Adele too. I'm sorry

1:08:25.840 --> 1:08:29.960
<v Speaker 2>I mess up his roster, but he's what Yeah, they're

1:08:29.960 --> 1:08:33.320
<v Speaker 2>all he there. And then there's guys who you know,

1:08:34.040 --> 1:08:38.000
<v Speaker 2>are hypers who this this is the one, Gary Dell,

1:08:38.160 --> 1:08:41.600
<v Speaker 2>this is the one. And you know I was in

1:08:41.640 --> 1:08:44.080
<v Speaker 2>record promotion for sixteen years. Man, you can't. You can't

1:08:44.120 --> 1:08:46.599
<v Speaker 2>hype a hyper I could. I could read through it

1:08:47.760 --> 1:08:50.240
<v Speaker 2>because that's what I did for sixteen years before. I

1:08:50.920 --> 1:08:54.120
<v Speaker 2>was on the other side and hyped and hype some

1:08:54.160 --> 1:08:56.920
<v Speaker 2>stuff that I didn't personally believe in. And that was

1:08:56.960 --> 1:08:57.920
<v Speaker 2>always a problem for me.

1:08:58.040 --> 1:09:01.240
<v Speaker 1>By the way, what did you learn about hard tickets?

1:09:01.280 --> 1:09:03.120
<v Speaker 1>Working with Geigert? Saved Live.

1:09:04.840 --> 1:09:08.759
<v Speaker 2>Like legit numbers. You know, I Mark is so good

1:09:08.920 --> 1:09:14.640
<v Speaker 2>at at separating his passion and gut from and so

1:09:14.800 --> 1:09:20.960
<v Speaker 2>and so is Danny from his brain? Uh, And I

1:09:20.479 --> 1:09:25.320
<v Speaker 2>I'm ever evolving. I'm an instinct passion guy. If I

1:09:25.479 --> 1:09:29.760
<v Speaker 2>like something, I will tell you without look. I have

1:09:29.800 --> 1:09:32.799
<v Speaker 2>a really good batting average. I just and that's from

1:09:33.200 --> 1:09:36.040
<v Speaker 2>being a drummer as a kid and being a music guy.

1:09:36.160 --> 1:09:40.040
<v Speaker 2>And like you, I'm song I'm a song driven man.

1:09:40.920 --> 1:09:43.240
<v Speaker 2>I know a good song. And I was working at

1:09:43.280 --> 1:09:47.160
<v Speaker 2>record labels and working with some really good radio programmers

1:09:47.360 --> 1:09:51.000
<v Speaker 2>because how you devise a festival is quite similar to

1:09:51.040 --> 1:09:53.920
<v Speaker 2>how you properly program a radio station. You know, if

1:09:53.960 --> 1:09:57.559
<v Speaker 2>when k Rock, Kevin Weatherley, name drop, who's probably the

1:09:57.600 --> 1:10:02.200
<v Speaker 2>best rock broadcaster in our lifetime, you should have them

1:10:02.200 --> 1:10:05.519
<v Speaker 2>on your show one day. He won't put when he

1:10:05.560 --> 1:10:12.000
<v Speaker 2>plays Metallica, the next song won't be wet Leg. You

1:10:12.120 --> 1:10:14.000
<v Speaker 2>got to get to wet Lake. How do you get

1:10:14.040 --> 1:10:17.759
<v Speaker 2>from Metallica to wet Leg, Metallica to the Foo Fighters

1:10:18.160 --> 1:10:23.559
<v Speaker 2>to Incubus to you can probably go Incubis to wet Leg.

1:10:25.080 --> 1:10:28.439
<v Speaker 2>So that's a good way to program and curate a festival.

1:10:28.520 --> 1:10:31.960
<v Speaker 2>I learned a lot, and so did Dell on our

1:10:32.000 --> 1:10:36.040
<v Speaker 2>record promotion days too. I feel have a step up

1:10:36.080 --> 1:10:38.040
<v Speaker 2>on festival curators.

1:10:38.200 --> 1:10:41.920
<v Speaker 1>In terms of hard ticket sales. Do you rely on

1:10:41.960 --> 1:10:44.800
<v Speaker 1>the Polestar numbers? Or do you actually call people? How

1:10:44.800 --> 1:10:47.320
<v Speaker 1>do you get the number that you're faithful with?

1:10:47.960 --> 1:10:51.479
<v Speaker 2>Both? Polestar's great somewhat of a bible, but they only

1:10:51.720 --> 1:10:55.439
<v Speaker 2>you know, we all know what the Polestar usually will

1:10:55.600 --> 1:10:58.240
<v Speaker 2>the people that turn in Polestar numbers are they're usually

1:10:58.240 --> 1:11:02.880
<v Speaker 2>because they're good, right, who's gonna? Who's Why would you

1:11:02.920 --> 1:11:05.360
<v Speaker 2>turn in bad post numbers to Pollstar? What good will

1:11:05.360 --> 1:11:09.679
<v Speaker 2>that do you? So? You know own venues? I knew

1:11:09.720 --> 1:11:13.360
<v Speaker 2>I knew I book bands, I book rock bands, hard

1:11:13.439 --> 1:11:19.840
<v Speaker 2>rock bands, metal bands, all bands. Sleep Token there's one there,

1:11:19.920 --> 1:11:22.360
<v Speaker 2>there's and I'm sorry I left them out, spirit Box

1:11:22.400 --> 1:11:25.720
<v Speaker 2>being another ghost being another Uh. Sleep Token is a

1:11:25.720 --> 1:11:27.400
<v Speaker 2>phenom and.

1:11:27.680 --> 1:11:30.000
<v Speaker 1>Well ghost has been operating for number of years. I'm

1:11:30.040 --> 1:11:33.439
<v Speaker 1>fully up to speed on them. Sleep Token, I'm not

1:11:33.600 --> 1:11:34.120
<v Speaker 1>tell me the.

1:11:34.080 --> 1:11:37.400
<v Speaker 2>Story there sleep tokens from Britain. Sleep Token is a

1:11:37.439 --> 1:11:40.200
<v Speaker 2>maxed band. Nobody knows what the lead singer looks like.

1:11:40.240 --> 1:11:45.080
<v Speaker 2>So there's a ghost uh kind of parallel. They're like

1:11:45.960 --> 1:11:53.120
<v Speaker 2>ghost meets Deftones. They're like heady thinking person's metal, very

1:11:53.240 --> 1:11:56.280
<v Speaker 2>kind of pink Pink Floyd's a weird reference, but I

1:11:56.360 --> 1:11:59.280
<v Speaker 2>mean that because they're spacey. Uh. The songs are space

1:11:59.360 --> 1:12:03.559
<v Speaker 2>The songs have space in them, like Deftones, but it's

1:12:03.840 --> 1:12:07.479
<v Speaker 2>rocking and it got it just connected, you know, Nick Storts,

1:12:07.560 --> 1:12:10.960
<v Speaker 2>the agent can't put his finger on it. It just connected.

1:12:11.560 --> 1:12:14.760
<v Speaker 2>They they sold out two days at Red Rocks in

1:12:15.080 --> 1:12:17.280
<v Speaker 2>four days at Radio City. I don't know if it's

1:12:17.320 --> 1:12:21.439
<v Speaker 2>fo multiple and their arena level. Now they can only

1:12:21.439 --> 1:12:23.080
<v Speaker 2>play in the dark. There's a couple bands that we

1:12:23.120 --> 1:12:25.320
<v Speaker 2>deal with that that won't that have to play in

1:12:25.360 --> 1:12:29.080
<v Speaker 2>the dark, which restricts us sleep Token being one of them.

1:12:29.120 --> 1:12:35.400
<v Speaker 2>But love them and sleep Token, Man, if there was

1:12:35.720 --> 1:12:37.880
<v Speaker 2>ten sleep Tokens, my job would be a lot easier.

1:12:39.479 --> 1:12:41.880
<v Speaker 1>Okay, let's go back to an earlier story where I

1:12:41.920 --> 1:12:44.559
<v Speaker 1>forget the name of the band. You discovered them on YouTube?

1:12:44.880 --> 1:12:49.280
<v Speaker 1>Were you literally just independently coursing around YouTube and you

1:12:49.400 --> 1:12:49.920
<v Speaker 1>found them?

1:12:50.600 --> 1:12:55.040
<v Speaker 2>Yes? And I love Algorithms can be the devil, right,

1:12:55.240 --> 1:13:00.120
<v Speaker 2>but sometimes there's algorithm heaven. I'm gonna I'm gonna tell

1:13:00.160 --> 1:13:03.400
<v Speaker 2>you about a band that dropped from the Algorithm's sky

1:13:03.479 --> 1:13:06.800
<v Speaker 2>to me. They're a band called My First Time. They

1:13:06.840 --> 1:13:10.280
<v Speaker 2>have a song called Wark where it is Arctic Monkeys

1:13:10.400 --> 1:13:13.960
<v Speaker 2>meets wet leg. They are unsigned, they have no agent,

1:13:14.320 --> 1:13:18.280
<v Speaker 2>the manager. I've fell in love with it. Anybody listening,

1:13:18.439 --> 1:13:22.760
<v Speaker 2>go find My First Time. If that was nineteen ninety nine,

1:13:22.960 --> 1:13:26.240
<v Speaker 2>a major label would snap them up, Alternative radio would

1:13:26.280 --> 1:13:28.400
<v Speaker 2>jump on it, and they'd be on MTV buzz bind

1:13:28.439 --> 1:13:32.800
<v Speaker 2>and see you later, Charlie. I invited them to play

1:13:32.840 --> 1:13:36.080
<v Speaker 2>at Rockville, and I convinced Danny and Dell and we

1:13:36.120 --> 1:13:38.120
<v Speaker 2>had an opening slot on the Food Fighter stage and

1:13:38.160 --> 1:13:40.600
<v Speaker 2>I often and they turned it down, which made me

1:13:40.600 --> 1:13:43.840
<v Speaker 2>want them more. Of course, I think because the money

1:13:43.880 --> 1:13:46.080
<v Speaker 2>that we actually had. This is to the point of

1:13:46.360 --> 1:13:49.160
<v Speaker 2>an earlier like why the numbers they can't They couldn't

1:13:49.200 --> 1:13:52.519
<v Speaker 2>get their work, visas and the flights. And that's why

1:13:52.520 --> 1:13:55.880
<v Speaker 2>it's so hard for bands overseas and rock to break

1:13:55.880 --> 1:13:59.800
<v Speaker 2>in America because, unlike you know, overseas, you can place

1:14:00.160 --> 1:14:02.559
<v Speaker 2>to ten shows, you get on NMA, you get a

1:14:02.600 --> 1:14:05.679
<v Speaker 2>melody maker, you play the festivals, you can get real traction,

1:14:06.080 --> 1:14:09.400
<v Speaker 2>and that doesn't work in America. You gotta grind, you

1:14:09.439 --> 1:14:13.799
<v Speaker 2>gotta play you gotta play Des Moines, you gotta play Fargo, Duluth.

1:14:15.240 --> 1:14:15.439
<v Speaker 1>You know.

1:14:17.560 --> 1:14:20.920
<v Speaker 2>So back to your thing on Turnstyle. Yes, what I

1:14:21.000 --> 1:14:25.240
<v Speaker 2>do in music discovery is all there's that's a you know,

1:14:25.320 --> 1:14:28.240
<v Speaker 2>Spotify and YouTuber outstanding to me that way on the

1:14:28.320 --> 1:14:33.360
<v Speaker 2>right side of YouTube there's bands and this particular turnstyle.

1:14:33.720 --> 1:14:37.720
<v Speaker 2>I just anybody listening go to like YouTube turnstyle, like

1:14:38.320 --> 1:14:42.479
<v Speaker 2>Turnstyle twenty seventeen, and you'll find the craziest shit. Like

1:14:43.120 --> 1:14:46.960
<v Speaker 2>fans couldn't not they had to be on stage and

1:14:47.000 --> 1:14:50.080
<v Speaker 2>the band I couldn't stay on stage. It's just this

1:14:50.280 --> 1:14:52.680
<v Speaker 2>there was a community spirit. So that's why I brought

1:14:52.760 --> 1:14:57.320
<v Speaker 2>up Fugazi, that there was no boundary between stage and

1:14:58.240 --> 1:15:01.479
<v Speaker 2>band and fan, between stage and the audience. And I

1:15:01.560 --> 1:15:04.160
<v Speaker 2>just flipped out and there was so much energy there

1:15:04.800 --> 1:15:06.519
<v Speaker 2>and I just I have to I got to book

1:15:06.520 --> 1:15:09.680
<v Speaker 2>this band. And I don't remember the band I was

1:15:10.160 --> 1:15:13.040
<v Speaker 2>looking at or following that led me to turnstile. I

1:15:13.040 --> 1:15:14.080
<v Speaker 2>have no idea.

1:15:15.720 --> 1:15:18.000
<v Speaker 1>If I am early in the day, do I have

1:15:18.040 --> 1:15:22.599
<v Speaker 1>a radius clause M yep.

1:15:22.720 --> 1:15:26.200
<v Speaker 2>But we're again, we're flexible because we also realize those bands,

1:15:27.080 --> 1:15:29.760
<v Speaker 2>say you're in a van, you can't get front like

1:15:30.360 --> 1:15:33.000
<v Speaker 2>welcome to Rockville and Sonic Temple are back to back weekends.

1:15:33.040 --> 1:15:36.519
<v Speaker 2>That's Florida to Columbus, Ohio. You got to get from

1:15:36.720 --> 1:15:43.800
<v Speaker 2>Daytona Beach to Columbus. So we so you play Charleston.

1:15:44.360 --> 1:15:48.560
<v Speaker 2>I'm just doing a simple map, and you play Savannah

1:15:48.560 --> 1:15:51.640
<v Speaker 2>and Charleston and Norfolk and you got to get to Columbus.

1:15:51.680 --> 1:15:54.360
<v Speaker 2>And if they're like, look, man, there's no avails because

1:15:54.360 --> 1:15:56.760
<v Speaker 2>of your festival. All the bands have taken up the

1:15:56.760 --> 1:16:01.880
<v Speaker 2>outside radius. Can we please play Lexington, Kentucky and if

1:16:01.880 --> 1:16:13.559
<v Speaker 2>it's a three hundred seater and we'll talk about it. Okay.

1:16:14.439 --> 1:16:19.280
<v Speaker 1>Conventional wisdom is rock doesn't stream. Do you believe that?

1:16:19.520 --> 1:16:21.760
<v Speaker 1>And if so, what are your thoughts.

1:16:21.400 --> 1:16:27.519
<v Speaker 2>Why I don't. The answer is no, but it doesn't

1:16:27.520 --> 1:16:30.400
<v Speaker 2>stream as much as popular music. To my earlier point,

1:16:30.439 --> 1:16:32.320
<v Speaker 2>I think rock was always on the wrong side of

1:16:32.320 --> 1:16:34.760
<v Speaker 2>the tracks. Another band that I should bring up to

1:16:34.800 --> 1:16:38.200
<v Speaker 2>you Knocked Loose, get Ready. They're on a They're on

1:16:38.240 --> 1:16:41.720
<v Speaker 2>a rocket to the moon. They have a song called

1:16:41.760 --> 1:16:47.920
<v Speaker 2>Slaughterhouse that has thirty seven million Spotify hits listens. That's

1:16:47.960 --> 1:16:51.000
<v Speaker 2>a really good number, thirty seven mil for a band

1:16:51.000 --> 1:16:57.120
<v Speaker 2>that has zero zero terrestrial radio airplay, so you find

1:16:57.160 --> 1:17:01.040
<v Speaker 2>those uh yeah, I mean you know, you look at

1:17:01.520 --> 1:17:06.559
<v Speaker 2>Beyonce or Taylor and there's no competition, But then you

1:17:06.600 --> 1:17:08.760
<v Speaker 2>look at like again, food fighters. I think I looked

1:17:08.800 --> 1:17:11.599
<v Speaker 2>at last Night it's what twenty three million monthly listeners.

1:17:12.439 --> 1:17:14.000
<v Speaker 2>That's that's pretty damn good.

1:17:15.720 --> 1:17:18.519
<v Speaker 1>Although there's a difference between acts that broke in the

1:17:18.680 --> 1:17:22.920
<v Speaker 1>MTVVH one era and certainly since twenty ten. It's a

1:17:22.920 --> 1:17:27.599
<v Speaker 1>different marketplace. But okay, you have the six festivals this year?

1:17:28.360 --> 1:17:31.479
<v Speaker 1>How many rock festivals of this stretch? People who are

1:17:31.479 --> 1:17:34.519
<v Speaker 1>not in the business have no idea how much it

1:17:34.560 --> 1:17:37.720
<v Speaker 1>takes to put these things on. You don't snap your fingers.

1:17:38.120 --> 1:17:41.840
<v Speaker 1>A good idea and execution are different. But is this

1:17:42.000 --> 1:17:46.320
<v Speaker 1>an underserve market? Could we have another seven or ten

1:17:46.360 --> 1:17:49.120
<v Speaker 1>of these? Or are you pretty much covering it?

1:17:50.280 --> 1:17:54.479
<v Speaker 2>I think Look, I think DWP has the the flag

1:17:54.520 --> 1:17:57.639
<v Speaker 2>in the sand. There's not there's boxes that you should

1:17:57.720 --> 1:18:02.000
<v Speaker 2>check when you think about doing this in our In

1:18:02.080 --> 1:18:05.599
<v Speaker 2>my opinion, when you look at a market or a region,

1:18:06.600 --> 1:18:11.280
<v Speaker 2>is there what what's the festival layout? Is there? Is

1:18:11.360 --> 1:18:14.160
<v Speaker 2>it a shed market where where these rock bands are

1:18:14.160 --> 1:18:18.000
<v Speaker 2>going to play the shed? Louisville not a shed market,

1:18:18.120 --> 1:18:21.240
<v Speaker 2>Daytona Beach not a shed market. Columbus, Ohio not a

1:18:21.280 --> 1:18:26.040
<v Speaker 2>shed market. Is there feeder markets big on that where

1:18:26.080 --> 1:18:29.400
<v Speaker 2>people could come in? Is there radio support? Because again

1:18:29.439 --> 1:18:33.120
<v Speaker 2>in rock, I can't speak for other formats or genres,

1:18:33.560 --> 1:18:36.639
<v Speaker 2>but terrestrial radio is still very powerful because the number

1:18:37.680 --> 1:18:41.240
<v Speaker 2>I don't know if I should on the data and

1:18:41.280 --> 1:18:44.200
<v Speaker 2>the data if it's not number one, it's right there,

1:18:44.240 --> 1:18:46.720
<v Speaker 2>the number one way. You've heard about this festival through

1:18:46.760 --> 1:18:51.200
<v Speaker 2>the local rock radio station, which is nice. Granted, they

1:18:51.240 --> 1:18:56.240
<v Speaker 2>should play out more new music, and they they they're

1:18:56.280 --> 1:18:58.720
<v Speaker 2>scared of it and that that pisses me off. But

1:18:58.760 --> 1:19:03.160
<v Speaker 2>that's a whole other story. So I think there's boxes

1:19:03.200 --> 1:19:04.920
<v Speaker 2>you should check, and I don't see a lot of

1:19:05.280 --> 1:19:08.320
<v Speaker 2>markets or regions where I would check all the boxes

1:19:08.360 --> 1:19:11.920
<v Speaker 2>where you could say that we haven't covered that, where

1:19:11.920 --> 1:19:13.639
<v Speaker 2>you could say, yeah, there needs to be a rock

1:19:13.680 --> 1:19:14.479
<v Speaker 2>festival there.

1:19:14.920 --> 1:19:17.439
<v Speaker 1>Now since you've been doing this for an excess of

1:19:17.479 --> 1:19:21.600
<v Speaker 1>a decade, or any festivals that you shut down and why.

1:19:23.200 --> 1:19:26.360
<v Speaker 2>I told you about, you know, the partnership with AEG

1:19:28.320 --> 1:19:32.040
<v Speaker 2>there was let's see what, uh you're always looking for

1:19:32.080 --> 1:19:35.880
<v Speaker 2>the bad huh? Yeah, Look, things run its course for

1:19:36.000 --> 1:19:38.160
<v Speaker 2>what was the one in Dover that AEG had that

1:19:38.280 --> 1:19:40.320
<v Speaker 2>was a good one? Damn it.

1:19:40.760 --> 1:19:43.920
<v Speaker 1>Uh I'm aware of the third parties, But you have

1:19:43.960 --> 1:19:47.520
<v Speaker 1>a very specialized festival and you don't have an unlimited

1:19:48.360 --> 1:19:51.639
<v Speaker 1>bank account. So I'm wondering if you've learned anything from

1:19:51.680 --> 1:19:52.759
<v Speaker 1>things that haven't worked.

1:19:53.560 --> 1:19:55.640
<v Speaker 2>Yeah, there was one like we used to. We had

1:19:55.680 --> 1:19:58.200
<v Speaker 2>a couple of great experiences with something we called Chicago

1:19:58.240 --> 1:20:01.800
<v Speaker 2>Open Air in Chicago, uh where, and we had tool

1:20:01.840 --> 1:20:06.240
<v Speaker 2>and system of a down one year, but Chicago Lollapalooza,

1:20:07.400 --> 1:20:12.799
<v Speaker 2>Wrigley Field, Pitchfork a shed number three market in America.

1:20:12.840 --> 1:20:16.000
<v Speaker 2>Every band's playing there. We're kind of a big serve

1:20:16.080 --> 1:20:18.280
<v Speaker 2>the underserved. We're kind of, you know, hit them where

1:20:18.280 --> 1:20:23.519
<v Speaker 2>they ain't. We're Southwest Airlines, you know. That's the that's

1:20:23.560 --> 1:20:31.480
<v Speaker 2>the mentality of that kind of a nice unspoken mission statement. Louisville, Kentucky, Jacksonville,

1:20:31.520 --> 1:20:35.320
<v Speaker 2>Florida now Daytona Beach, Florida, Sacramento, the Saint New York

1:20:35.400 --> 1:20:40.080
<v Speaker 2>or Los Angeles, uh so, Chicago. For those reasons. We

1:20:40.120 --> 1:20:42.679
<v Speaker 2>did one in Fort Myers, Florida, which was a sister

1:20:43.200 --> 1:20:46.479
<v Speaker 2>of Welcome to Rockville, which we called Fort rock which

1:20:46.520 --> 1:20:48.720
<v Speaker 2>was because of Fort Myers did that for a couple

1:20:48.760 --> 1:20:52.240
<v Speaker 2>of years to kind of reading and leads it, you know,

1:20:52.439 --> 1:20:54.679
<v Speaker 2>for for the Saturday bands, put them on the Sunday.

1:20:55.360 --> 1:20:56.760
<v Speaker 2>But Fort Myers wasn't big enough.

1:20:59.000 --> 1:21:03.200
<v Speaker 1>Okay, what is the demo who comes to your festival?

1:21:03.240 --> 1:21:04.000
<v Speaker 1>What are the ages?

1:21:05.479 --> 1:21:08.479
<v Speaker 2>I'm going to go with an overall twenty five to

1:21:08.560 --> 1:21:13.280
<v Speaker 2>forty nine, with the core for thirty four to forty

1:21:13.280 --> 1:21:17.920
<v Speaker 2>four being it. And you sure you see kids, Sure

1:21:17.960 --> 1:21:20.960
<v Speaker 2>you see kids with dads and moms, and sure you

1:21:21.000 --> 1:21:26.400
<v Speaker 2>see teenagers in bulk, but the core is that kind

1:21:26.400 --> 1:21:31.760
<v Speaker 2>of thirty four to twenty nine to forty four Bob

1:21:33.560 --> 1:21:37.120
<v Speaker 2>sixty five, male thirty five maybe a little more more

1:21:37.120 --> 1:21:38.320
<v Speaker 2>than you think on female.

1:21:39.160 --> 1:21:45.880
<v Speaker 1>Okay, you talked about it generally financial paycheck to paycheck.

1:21:47.000 --> 1:21:49.439
<v Speaker 1>I don't want to use the term blue collar, but

1:21:49.560 --> 1:21:53.240
<v Speaker 1>let's just use the term lower middle class. The people

1:21:53.240 --> 1:21:58.240
<v Speaker 1>who buy VIP are they a different economic stratum? Yes?

1:21:58.280 --> 1:21:58.519
<v Speaker 1>And no.

1:21:58.720 --> 1:22:03.080
<v Speaker 2>I mean it's value priced, they're they're all of there's

1:22:03.120 --> 1:22:08.000
<v Speaker 2>there's again, there's there's camping, there's literal PLoP up a tent.

1:22:08.560 --> 1:22:11.840
<v Speaker 2>God bless them for four days in a tent. You know,

1:22:11.880 --> 1:22:17.280
<v Speaker 2>I'm clamping at best middle aged Jewish man myself. There's

1:22:17.360 --> 1:22:21.040
<v Speaker 2>Hotel v I P. So yeah, the I don't know

1:22:21.120 --> 1:22:24.800
<v Speaker 2>the higher price there. There's a guy who I met

1:22:25.160 --> 1:22:28.639
<v Speaker 2>who's a dentist. His name's Giddis. Shout out to Gidas

1:22:28.640 --> 1:22:32.439
<v Speaker 2>if he's listening. Guy uh who is a dentist in Detroit,

1:22:32.560 --> 1:22:36.519
<v Speaker 2>and him and his wife Sarah, this is there. They

1:22:36.560 --> 1:22:39.960
<v Speaker 2>go all in super v I P. There. They just

1:22:40.000 --> 1:22:42.200
<v Speaker 2>love rock and roll. This is their vacation. I think

1:22:42.240 --> 1:22:43.920
<v Speaker 2>he has like a I think he also has like

1:22:43.960 --> 1:22:47.400
<v Speaker 2>a Michigan lake house too. He does very well for himself,

1:22:47.439 --> 1:22:52.000
<v Speaker 2>but he that spare no expense. You know. There's a

1:22:52.040 --> 1:22:55.000
<v Speaker 2>certain core of that where they grew up with rock

1:22:55.040 --> 1:22:57.720
<v Speaker 2>and roll and this is this is their dream weekend.

1:22:59.280 --> 1:23:00.760
<v Speaker 2>It's it's guid us by the way.

1:23:00.800 --> 1:23:04.360
<v Speaker 1>Sorry, let's say it's dark. It's on the main stage.

1:23:05.040 --> 1:23:09.000
<v Speaker 1>A Trump impersonator comes out, somebody dresses Trump. What's the

1:23:09.040 --> 1:23:10.439
<v Speaker 1>audience reaction going to be?

1:23:13.360 --> 1:23:18.479
<v Speaker 2>Could this? Could this be another podcast? Fortunately? Bob as

1:23:18.520 --> 1:23:22.680
<v Speaker 2>I am. When it comes to politics, for me, it

1:23:22.760 --> 1:23:27.760
<v Speaker 2>is all about character and morals and empathy and having

1:23:27.840 --> 1:23:31.439
<v Speaker 2>the government be supporting and not having the government being

1:23:31.479 --> 1:23:36.599
<v Speaker 2>a punisher. So that's where my politics lie. And that's

1:23:36.680 --> 1:23:40.080
<v Speaker 2>predominantly every person who I deal with behind the scenes

1:23:40.080 --> 1:23:45.000
<v Speaker 2>at a festival too. And fortunately, God bless these festivals.

1:23:45.000 --> 1:23:48.880
<v Speaker 2>And I'm telling you are very apolitical. We haven't had

1:23:48.920 --> 1:23:50.840
<v Speaker 2>one instance of that. Man, I'm telling you.

1:23:51.040 --> 1:23:56.440
<v Speaker 1>Let me change the question. The perception of this audience

1:23:56.960 --> 1:24:00.440
<v Speaker 1>is the lean right would that be accurate?

1:24:02.479 --> 1:24:09.160
<v Speaker 2>That is the generic h uh thought? And if that

1:24:09.400 --> 1:24:11.920
<v Speaker 2>was the case, I would have a hard time doing

1:24:11.920 --> 1:24:14.519
<v Speaker 2>my job as a as as as a person again

1:24:14.600 --> 1:24:18.120
<v Speaker 2>of of of moral character. That is not the case.

1:24:18.520 --> 1:24:22.040
<v Speaker 2>It is when I say they leave their politics and

1:24:22.120 --> 1:24:25.479
<v Speaker 2>at the door at the front gate, they really do. Again,

1:24:25.560 --> 1:24:28.920
<v Speaker 2>I've I've never seen i haven't seen it. And I'm

1:24:28.920 --> 1:24:32.080
<v Speaker 2>really and uh and and maybe it's just the true

1:24:32.160 --> 1:24:35.320
<v Speaker 2>nature of this community of this rock festival. I'm not

1:24:35.360 --> 1:24:38.800
<v Speaker 2>blowing smoke. I would tell you. I'm I'm an open

1:24:38.840 --> 1:24:43.040
<v Speaker 2>book on this on this stuff. We were We're in

1:24:43.080 --> 1:24:47.880
<v Speaker 2>the throes of a coup right now, God help us.

1:24:48.400 --> 1:24:52.320
<v Speaker 2>And I'm just hoping that, uh, that sanity wins out.

1:24:52.439 --> 1:24:58.320
<v Speaker 2>And unfortunately, again at these festivals, bands are a political

1:24:58.400 --> 1:25:02.200
<v Speaker 2>but they'll speak from their heart and nobody's It's never

1:25:02.200 --> 1:25:05.320
<v Speaker 2>been an issue, And if it was, I would tell.

1:25:05.160 --> 1:25:07.040
<v Speaker 1>You what about fights in violence?

1:25:08.840 --> 1:25:10.880
<v Speaker 2>No, you know that the whole the old saying of

1:25:10.960 --> 1:25:12.720
<v Speaker 2>if you see something in the mosh pits and the

1:25:12.720 --> 1:25:15.200
<v Speaker 2>slam dancing, you can see somebody down, pick them up,

1:25:15.760 --> 1:25:18.559
<v Speaker 2>it's not and and and that these people are drinking

1:25:18.600 --> 1:25:23.320
<v Speaker 2>all day it's not violent. It's it's wonderful. I I

1:25:23.760 --> 1:25:26.719
<v Speaker 2>just I urge anybody who has doubts, and I've gotten

1:25:26.720 --> 1:25:29.439
<v Speaker 2>a lot of people down off the fence to come

1:25:29.439 --> 1:25:32.639
<v Speaker 2>to one of these festivals, and the energy is vibrant

1:25:32.760 --> 1:25:35.080
<v Speaker 2>and alive. And the last thing you think about at

1:25:35.080 --> 1:25:38.360
<v Speaker 2>these festivals is that rock is dead. It is the

1:25:38.840 --> 1:25:41.479
<v Speaker 2>I'm telling you, And that's what makes me happy because

1:25:41.520 --> 1:25:45.000
<v Speaker 2>I am just such a flag waiver of rock and roll.

1:25:45.080 --> 1:25:47.680
<v Speaker 2>I'm a rock and roll kid. I could give you

1:25:47.720 --> 1:25:52.280
<v Speaker 2>my trajectory from from the British Invasion to Cream and

1:25:52.400 --> 1:25:55.880
<v Speaker 2>Zeppelin and Henrix to Bowie that led me.

1:25:56.080 --> 1:25:59.120
<v Speaker 1>Okay, let's let's just put a bow on this. You

1:25:59.200 --> 1:26:03.599
<v Speaker 1>live at where you have a festival, Your sixteen year

1:26:03.640 --> 1:26:06.320
<v Speaker 1>old daughter comes to you and says, I want to

1:26:06.360 --> 1:26:09.200
<v Speaker 1>go for a day to one of these Danny Wimer festivals.

1:26:09.640 --> 1:26:13.120
<v Speaker 1>You say, have at it, or you say, well, who

1:26:13.240 --> 1:26:15.559
<v Speaker 1>you're going with? Maybe I'll take you. What would you

1:26:15.600 --> 1:26:16.160
<v Speaker 1>say as a.

1:26:16.080 --> 1:26:19.880
<v Speaker 2>Parent as a parent, as a parent, yeah, who you

1:26:20.000 --> 1:26:25.879
<v Speaker 2>going with? Sure, I've been a big live show. My kids,

1:26:25.920 --> 1:26:28.639
<v Speaker 2>my two children have seen more than I'll ever see.

1:26:29.920 --> 1:26:34.120
<v Speaker 2>And yes, outside Lands, Coachella, Goveball, my kids have been

1:26:34.160 --> 1:26:38.040
<v Speaker 2>to a lot of these festivals. DWP festivals are completely safe.

1:26:38.479 --> 1:26:40.800
<v Speaker 2>Have at it. Who you going, how are you going with?

1:26:41.439 --> 1:26:44.599
<v Speaker 2>Have at it? Have an amazing time. Keep keep your

1:26:44.640 --> 1:26:47.960
<v Speaker 2>cell phone on you let me know where you are here,

1:26:47.960 --> 1:26:50.680
<v Speaker 2>and here's who here's who you should see.

1:26:50.960 --> 1:26:56.360
<v Speaker 1>Okay, we've mentioned all of these acts that a lot

1:26:56.439 --> 1:26:59.479
<v Speaker 1>of America is unfamiliar with the people. Are you listening

1:26:59.520 --> 1:27:04.040
<v Speaker 1>to this spot? Cast Ethan? Is there any chance that

1:27:04.200 --> 1:27:08.320
<v Speaker 1>these bands I'm gonna use cliches will cross over, but

1:27:08.439 --> 1:27:10.839
<v Speaker 1>let me just put it a different way, will become

1:27:11.000 --> 1:27:14.960
<v Speaker 1>much bigger than they presently are. I'm talking about new acts.

1:27:15.200 --> 1:27:19.760
<v Speaker 1>There weren't the beneficiaries of the old system MTV, when

1:27:19.840 --> 1:27:23.400
<v Speaker 1>terrestrial radio was much more powerful acts from the last

1:27:23.680 --> 1:27:25.160
<v Speaker 1>ten or twelve so years.

1:27:26.960 --> 1:27:31.320
<v Speaker 2>Yes, well, look in one band I'll mention that is

1:27:31.439 --> 1:27:35.240
<v Speaker 2>from that area you mentioned that is currently having a

1:27:35.280 --> 1:27:39.800
<v Speaker 2>big crossover successes the band shine Down. But so there

1:27:39.880 --> 1:27:43.240
<v Speaker 2>is hope you know wait.

1:27:43.080 --> 1:27:45.840
<v Speaker 1>Wait wait, shine Down is from a long time Yeah.

1:27:45.880 --> 1:27:51.599
<v Speaker 2>I just said that. Yeah, so you know. No, there's

1:27:51.640 --> 1:27:56.040
<v Speaker 2>not many rock bands that cross over. That's okay for us,

1:27:56.640 --> 1:28:00.760
<v Speaker 2>that's okay. Meanwhile, like I said, Knock Lou, a band

1:28:00.760 --> 1:28:05.960
<v Speaker 2>that has zero rock airplay, Terrestrial has thirty seven million

1:28:07.000 --> 1:28:09.200
<v Speaker 2>hits on their song Slaughterhouse.

1:28:10.080 --> 1:28:13.360
<v Speaker 1>Okay, let me be very direct when I get Ryan

1:28:13.439 --> 1:28:16.759
<v Speaker 1>Downey's email, when I look at the active rock tracks,

1:28:17.520 --> 1:28:20.240
<v Speaker 1>I say, if I played this for the average person,

1:28:20.400 --> 1:28:23.800
<v Speaker 1>they would say turn it off. Okay. And then I

1:28:23.880 --> 1:28:26.400
<v Speaker 1>analyze the music a lot of times, some of it

1:28:26.439 --> 1:28:29.760
<v Speaker 1>does have melody, but a lot of it doesn't. So,

1:28:29.840 --> 1:28:32.920
<v Speaker 1>if you put on your record industry hat and you

1:28:32.960 --> 1:28:35.120
<v Speaker 1>were with one of these bands and you wanted to

1:28:35.120 --> 1:28:39.040
<v Speaker 1>broaden their audience, what is it that these bands have

1:28:39.360 --> 1:28:42.160
<v Speaker 1>or do not have such that they're in this cocoon.

1:28:42.200 --> 1:28:46.080
<v Speaker 1>It's not insignificant you have all these festivals, But what

1:28:46.080 --> 1:28:49.240
<v Speaker 1>would it have to change in the music such that

1:28:49.840 --> 1:28:51.760
<v Speaker 1>more people would be interested in.

1:28:54.280 --> 1:28:59.800
<v Speaker 2>Songs? Again, I personally wouldn't work with a band that

1:29:00.120 --> 1:29:03.120
<v Speaker 2>didn't start as songwriters. As I said, the things that

1:29:03.160 --> 1:29:07.920
<v Speaker 2>went at these festivals energy, songs, attitude, and I put

1:29:07.960 --> 1:29:10.559
<v Speaker 2>songs as a one B because you can get away

1:29:10.600 --> 1:29:13.160
<v Speaker 2>at our festivals with a thirty to forty five minute

1:29:13.200 --> 1:29:17.320
<v Speaker 2>set with total energy. But you're gonna plateau. You know,

1:29:17.320 --> 1:29:21.240
<v Speaker 2>you're gonna, you're gonna, you're gonna just fall fall off

1:29:21.320 --> 1:29:26.280
<v Speaker 2>the rock and roll cycle. You need songs. So bad

1:29:26.320 --> 1:29:29.679
<v Speaker 2>Omens has has a song called v An with Poppy

1:29:30.920 --> 1:29:34.280
<v Speaker 2>that is I would think, and look, I don't know

1:29:34.320 --> 1:29:38.040
<v Speaker 2>what hot Ac your top forty is actually doing. I'm

1:29:38.320 --> 1:29:42.280
<v Speaker 2>that is. I'm not totally paying that close attention to

1:29:42.280 --> 1:29:45.760
<v Speaker 2>to those charts personally, but.

1:29:45.720 --> 1:29:48.120
<v Speaker 1>Well, you know, at this point in time, all that

1:29:48.160 --> 1:29:52.759
<v Speaker 1>stuff means less. If something catches fire, radio is less.

1:29:53.080 --> 1:29:56.400
<v Speaker 1>But we're living in the rock is somewhat ghetto wise.

1:29:56.840 --> 1:29:59.000
<v Speaker 1>So the question, and we all know you know when

1:29:59.000 --> 1:30:02.120
<v Speaker 1>you hear it, So the key is what would it

1:30:02.200 --> 1:30:05.479
<v Speaker 1>take for it to be broader? Now you talk about

1:30:05.560 --> 1:30:09.559
<v Speaker 1>sixty seven, seventy whatever needle to say. You know, certainly

1:30:09.560 --> 1:30:12.799
<v Speaker 1>by the time you hit the seventies, AOARFM radio ruled

1:30:12.800 --> 1:30:15.559
<v Speaker 1>the country even though there was a pop chart. So

1:30:15.880 --> 1:30:20.519
<v Speaker 1>rock is actually a pretty big ten and the type

1:30:20.560 --> 1:30:25.240
<v Speaker 1>of band you were purveying or a slice of that ten,

1:30:26.240 --> 1:30:29.920
<v Speaker 1>But it's much broader. Is it the fact that these

1:30:29.960 --> 1:30:33.639
<v Speaker 1>acts are not moving to these other areas. I'm basically saying,

1:30:33.680 --> 1:30:36.640
<v Speaker 1>what is the future for rock music? This scene is

1:30:36.800 --> 1:30:38.920
<v Speaker 1>very healthy, but what does it take it to make

1:30:38.960 --> 1:30:39.559
<v Speaker 1>it broader?

1:30:40.080 --> 1:30:43.360
<v Speaker 2>I've met when I youtubed, when I fell into that

1:30:43.640 --> 1:30:47.320
<v Speaker 2>Turnstile algorithm, I never thought. I never thought in a

1:30:47.400 --> 1:30:49.880
<v Speaker 2>million years that band would write a song like Blackout

1:30:50.160 --> 1:30:56.600
<v Speaker 2>or TLC again using turnstyle. That song was all over KRQ.

1:30:56.960 --> 1:30:59.680
<v Speaker 2>I never thought that band could do that. I just

1:30:59.720 --> 1:31:02.640
<v Speaker 2>loved their energy. Now they have energy and songs and

1:31:02.680 --> 1:31:06.240
<v Speaker 2>they're gonna They're gonna play arenas. So if you have,

1:31:06.439 --> 1:31:10.040
<v Speaker 2>if you're, if you're, if you have it is back

1:31:10.120 --> 1:31:13.479
<v Speaker 2>to the basics. You gotta deliver live in rock and roll.

1:31:13.920 --> 1:31:16.800
<v Speaker 2>You have to. You have to have a great live show.

1:31:16.920 --> 1:31:19.000
<v Speaker 2>And then when you have, there's an old saying, you're

1:31:19.000 --> 1:31:24.160
<v Speaker 2>a song away. Right and Turnstile, which was a five

1:31:24.240 --> 1:31:27.600
<v Speaker 2>hundred dollars band not too long ago, is now an

1:31:27.640 --> 1:31:31.439
<v Speaker 2>arena band because of their bass, because of their live show,

1:31:31.840 --> 1:31:33.400
<v Speaker 2>and because of the songs they now write.

1:31:34.160 --> 1:31:37.800
<v Speaker 1>The undercard because you're booking a lot of bands to

1:31:37.960 --> 1:31:41.519
<v Speaker 1>what degreed do those bands continue to slog out or

1:31:41.760 --> 1:31:43.880
<v Speaker 1>a lot of those acts just call it a day.

1:31:45.080 --> 1:31:50.240
<v Speaker 2>Yeah, and they you know, they they we it's not

1:31:50.280 --> 1:31:55.160
<v Speaker 2>our it's not our job too. How should I say this?

1:31:55.600 --> 1:31:58.120
<v Speaker 2>It's not it's not the festival's job to break the band.

1:31:59.120 --> 1:32:00.880
<v Speaker 2>We like to have a part and would like to help.

1:32:00.880 --> 1:32:02.360
<v Speaker 2>If we're into a band, we want to support as

1:32:02.439 --> 1:32:05.680
<v Speaker 2>much as we can. So at a certain point, yeah,

1:32:05.680 --> 1:32:08.120
<v Speaker 2>if they plateau and they keep on coming back every

1:32:08.320 --> 1:32:11.320
<v Speaker 2>cycle every two years and hitting us up, there's a

1:32:11.320 --> 1:32:13.280
<v Speaker 2>certain point where we have to kind of cut the

1:32:13.360 --> 1:32:19.600
<v Speaker 2>chord and find find the flesh Water who was Fleshwater

1:32:19.680 --> 1:32:22.400
<v Speaker 2>four years ago, right, who is like, we're into that band,

1:32:23.000 --> 1:32:26.080
<v Speaker 2>we're gonna put you on, we believe in you, we're

1:32:26.120 --> 1:32:28.800
<v Speaker 2>gonna get we're gonna give you a nice profile. And

1:32:28.840 --> 1:32:30.840
<v Speaker 2>then there's a certain point where a band and their

1:32:30.880 --> 1:32:33.599
<v Speaker 2>team have to prove it and keep on going. We

1:32:33.640 --> 1:32:38.160
<v Speaker 2>have we have countless stories of that, from Knock Loose

1:32:38.200 --> 1:32:41.439
<v Speaker 2>to bad Omens to five Finger Death Punch. They opened

1:32:41.520 --> 1:32:44.040
<v Speaker 2>up a main stage. Now they're a headline hard rock

1:32:44.080 --> 1:32:48.000
<v Speaker 2>bad act because they have a ton of songs they

1:32:48.000 --> 1:32:51.120
<v Speaker 2>have popa roach. You can do a sixty minute hit

1:32:51.320 --> 1:32:54.680
<v Speaker 2>set to the core to these forty thousand fans and

1:32:54.720 --> 1:32:59.200
<v Speaker 2>they'll that those fans will know every song, so songs win.

1:33:00.680 --> 1:33:04.559
<v Speaker 1>Okay. Now you come from the record company world. It

1:33:04.600 --> 1:33:07.200
<v Speaker 1>cracks me up when the record companies get a hold

1:33:07.240 --> 1:33:09.639
<v Speaker 1>of me and they'll stay, you want to see this show,

1:33:10.320 --> 1:33:13.679
<v Speaker 1>and they have a ticket buy. These are major labels

1:33:13.680 --> 1:33:16.040
<v Speaker 1>with like ten tickets. You know, I don't need their ticket.

1:33:16.080 --> 1:33:18.759
<v Speaker 1>I get it from the promoter. But to what degree

1:33:19.280 --> 1:33:22.040
<v Speaker 1>did the record company even fit into your business?

1:33:22.920 --> 1:33:25.800
<v Speaker 2>Less and less? It's kind of sad, you know, because

1:33:25.840 --> 1:33:29.040
<v Speaker 2>I've been I was. I grew up with record labels,

1:33:29.080 --> 1:33:31.720
<v Speaker 2>you know, I knew which label the doors were on

1:33:31.920 --> 1:33:35.080
<v Speaker 2>and and Sire Records and I R S what a

1:33:35.080 --> 1:33:42.639
<v Speaker 2>great label? Yeah, you know there I used. The radio

1:33:42.760 --> 1:33:45.240
<v Speaker 2>chart used to be in our early days, a big

1:33:45.280 --> 1:33:47.760
<v Speaker 2>influencer of of what bands to look at, especially for

1:33:47.800 --> 1:33:54.840
<v Speaker 2>the undercart. It's it's now, it's it's nice spoken the wheel. Uh,

1:33:55.320 --> 1:33:57.840
<v Speaker 2>I think you you you said it. You know, movie

1:33:57.840 --> 1:34:02.840
<v Speaker 2>studios and major record labels are released less. You know,

1:34:02.960 --> 1:34:08.320
<v Speaker 2>it's sad, man, it's uh. I'm so loyal to a fault.

1:34:08.479 --> 1:34:10.680
<v Speaker 2>You know, I root for for the old school. I was.

1:34:10.800 --> 1:34:13.040
<v Speaker 2>I was. I think I was the last human I

1:34:13.120 --> 1:34:16.880
<v Speaker 2>knew who had the BlackBerry and not I have. I

1:34:16.920 --> 1:34:21.040
<v Speaker 2>have switched everybody. So and rock and roll is a

1:34:21.040 --> 1:34:27.280
<v Speaker 2>loyal thing too, you know. It's rock and roll is

1:34:27.400 --> 1:34:31.519
<v Speaker 2>jazz with great with songs that are that are forever

1:34:31.840 --> 1:34:33.120
<v Speaker 2>embedded into our lives.

1:34:34.320 --> 1:34:37.800
<v Speaker 1>So you've had festivals played this year twenty twenty four.

1:34:37.880 --> 1:34:39.160
<v Speaker 1>What have you learned this year?

1:34:41.120 --> 1:34:47.040
<v Speaker 2>Uh? Curate, properly, give them, give them the appropriate ticket price,

1:34:48.200 --> 1:34:54.920
<v Speaker 2>bulk wins, and treat your fans right. Give, don't keep.

1:34:54.920 --> 1:34:58.799
<v Speaker 2>Don't keep them in the dark. It's it's about the fans.

1:34:58.840 --> 1:35:00.799
<v Speaker 2>Without them, they're are no festivals.

1:35:01.000 --> 1:35:02.840
<v Speaker 1>What do you mean keep them in the dark.

1:35:03.360 --> 1:35:04.960
<v Speaker 2>Don't keep them? Did I say keep him in the dark?

1:35:04.960 --> 1:35:06.840
<v Speaker 1>No, you said, don't keep him in the dark. What

1:35:06.840 --> 1:35:08.639
<v Speaker 1>do you mean, keep.

1:35:08.520 --> 1:35:11.519
<v Speaker 2>Them informed, keep them engaged? I think it was Dean

1:35:11.560 --> 1:35:14.360
<v Speaker 2>de Leo, my friend of a stone too, a pilot said, Gary,

1:35:14.400 --> 1:35:15.840
<v Speaker 2>when we do a show, we hit him out, We

1:35:16.120 --> 1:35:19.519
<v Speaker 2>hit him over the head with a hammer. Just just

1:35:19.720 --> 1:35:24.240
<v Speaker 2>hit them with information. Have great, great apps for for

1:35:24.439 --> 1:35:30.080
<v Speaker 2>scheduling if there's weather issues, keep them informed, keep them

1:35:30.080 --> 1:35:34.040
<v Speaker 2>in and keep them in the know. They like that.

1:35:35.320 --> 1:35:39.759
<v Speaker 1>Okay, you know fifteen years ago everybody was festival crazy.

1:35:40.280 --> 1:35:43.519
<v Speaker 1>There's been a pullback in the UK. There's been a

1:35:43.560 --> 1:35:47.960
<v Speaker 1>lot of festivals canceled. What do you think of the

1:35:48.000 --> 1:35:51.400
<v Speaker 1>festival landscape going forward.

1:35:52.000 --> 1:35:56.439
<v Speaker 2>I'm of the belief that if you're branded, and you

1:35:56.479 --> 1:36:00.800
<v Speaker 2>have your you have your mission statement, and you and

1:36:00.880 --> 1:36:04.799
<v Speaker 2>you know what you are as a festival, you should

1:36:05.080 --> 1:36:09.519
<v Speaker 2>do good business. If you're a festival that just plops

1:36:09.600 --> 1:36:13.559
<v Speaker 2>up the bands that I mentioned a while ago, I'm

1:36:13.600 --> 1:36:17.000
<v Speaker 2>gonna put on a festival and UH in a park

1:36:17.040 --> 1:36:19.800
<v Speaker 2>with Siza and Noah Kahn and Blink one eighty two.

1:36:21.640 --> 1:36:27.280
<v Speaker 2>Those won't survive. Branded events, UH will survive. And if

1:36:27.360 --> 1:36:29.920
<v Speaker 2>and and if you have a great marketing staff.

1:36:31.280 --> 1:36:33.519
<v Speaker 1>Well tell me about the market staff. How you know

1:36:33.640 --> 1:36:37.400
<v Speaker 1>you've sent everything down? How do you get the word out?

1:36:37.439 --> 1:36:40.799
<v Speaker 1>Which is harder than ever before? Yeah?

1:36:40.840 --> 1:36:45.960
<v Speaker 2>Cracking, that's cracking the codeh man. That is if if

1:36:45.760 --> 1:36:47.960
<v Speaker 2>if we knew how to crack the code, then are

1:36:48.160 --> 1:36:53.000
<v Speaker 2>then we'd all be zillionaires. But with Rock again, it

1:36:53.320 --> 1:36:56.679
<v Speaker 2>when I say paycheck to paycheck, things don't blow out

1:36:57.240 --> 1:37:01.400
<v Speaker 2>in Rock a lot. It is a rind. The more

1:37:01.479 --> 1:37:04.000
<v Speaker 2>and that's the more window you can have, the better

1:37:04.560 --> 1:37:08.280
<v Speaker 2>for a show. Keep your marketing fresh, keep it, keep

1:37:08.280 --> 1:37:13.280
<v Speaker 2>your audience engaged, use radio appropriately, use social media right.

1:37:14.080 --> 1:37:17.519
<v Speaker 2>Band engagement more critical than ever. And it's not just

1:37:17.640 --> 1:37:21.840
<v Speaker 2>like an iPhone video. Hey, this is so and so

1:37:21.920 --> 1:37:24.560
<v Speaker 2>from the band so and so. See it Rockville, you

1:37:24.800 --> 1:37:29.519
<v Speaker 2>get them, you know, do a guitar lesson, showing me

1:37:29.560 --> 1:37:33.280
<v Speaker 2>your new song and and and the chord struck. It's

1:37:33.720 --> 1:37:37.240
<v Speaker 2>it's keeping him engaged. Having said that, where I have

1:37:37.320 --> 1:37:39.880
<v Speaker 2>a where I try to draw the line, Bob, maybe

1:37:39.920 --> 1:37:44.559
<v Speaker 2>you two. I love the mystique of rock and it.

1:37:44.760 --> 1:37:47.200
<v Speaker 2>You know, MTV took the took the Wizard of oz

1:37:47.240 --> 1:37:50.479
<v Speaker 2>cape down a little bit. Where that that guy, that

1:37:50.640 --> 1:37:53.040
<v Speaker 2>rock star that you can only dream of on on

1:37:53.200 --> 1:37:55.600
<v Speaker 2>stage or on the album he's writing, he's right in

1:37:55.600 --> 1:37:58.920
<v Speaker 2>your face. You know twenty four to seven that that

1:37:59.360 --> 1:38:03.200
<v Speaker 2>empty takes a steak out of rock. It's not as special.

1:38:03.520 --> 1:38:07.280
<v Speaker 2>So there's that fine line. But god, it's not enough

1:38:07.280 --> 1:38:08.599
<v Speaker 2>to have a great song. You have to know how

1:38:08.640 --> 1:38:12.360
<v Speaker 2>to you know, TikTok. Right, That's that's that's just the

1:38:12.400 --> 1:38:13.000
<v Speaker 2>sad truth.

1:38:14.240 --> 1:38:18.799
<v Speaker 1>Have you had any viral moments on TikTok with promoting

1:38:18.840 --> 1:38:21.960
<v Speaker 1>these festivals. Have you found that it's worked for you

1:38:22.040 --> 1:38:23.000
<v Speaker 1>in any special way?

1:38:23.880 --> 1:38:28.960
<v Speaker 2>Yeah, certain bands have have, like definitely Instagram TikTok moments.

1:38:29.080 --> 1:38:33.320
<v Speaker 2>You know what we like is uh? For instance, Disturbed

1:38:33.720 --> 1:38:35.960
<v Speaker 2>Q Prime has as a as a number one rock

1:38:36.000 --> 1:38:40.200
<v Speaker 2>song with Ann Wilson of Heart and they're playing our festivals.

1:38:40.280 --> 1:38:45.280
<v Speaker 2>So what they do they'll grab a lower level rock

1:38:45.320 --> 1:38:48.200
<v Speaker 2>band as a female lead singer on our shows and

1:38:48.840 --> 1:38:51.840
<v Speaker 2>ask them to do the duet when especially now because

1:38:51.840 --> 1:38:54.800
<v Speaker 2>Anne is going to be recovering from cancer and hope

1:38:54.800 --> 1:38:58.760
<v Speaker 2>she does. That goes viral. There was a it was

1:38:58.840 --> 1:39:01.840
<v Speaker 2>Ash Costello of the New Year's Day who played probably

1:39:02.040 --> 1:39:04.360
<v Speaker 2>I think one or two o'clock, and there she was

1:39:04.400 --> 1:39:07.800
<v Speaker 2>in front of forty thousand singing this song with Disturbed,

1:39:08.360 --> 1:39:12.640
<v Speaker 2>went viral. Dave Yes the if you maybe maybe you

1:39:12.680 --> 1:39:18.240
<v Speaker 2>caught it Mammoth Wolfgang Mammoth w the h played earlier

1:39:18.240 --> 1:39:20.880
<v Speaker 2>in the day and he was side a stage and

1:39:21.000 --> 1:39:23.880
<v Speaker 2>Dave had what he does is he introduces everybody and

1:39:23.920 --> 1:39:26.960
<v Speaker 2>he starts playing eruption, and then he starts playing with

1:39:27.000 --> 1:39:29.080
<v Speaker 2>one hand, and then he starts playing with no hands

1:39:29.360 --> 1:39:33.240
<v Speaker 2>and shoot to Wolfie on the side completely went viral.

1:39:33.720 --> 1:39:35.280
<v Speaker 2>So those special moments we love that.

1:39:37.080 --> 1:39:40.120
<v Speaker 1>You've certainly been to Coachella. Let's say I just five

1:39:40.200 --> 1:39:45.480
<v Speaker 1>thousand people from Coachella and I put them down in Rockville.

1:39:46.400 --> 1:39:47.800
<v Speaker 1>What would their reaction be.

1:39:49.960 --> 1:39:52.600
<v Speaker 2>I think they would fucking flip out. I think they

1:39:52.640 --> 1:39:55.400
<v Speaker 2>would love it because that that was the ed M

1:39:55.640 --> 1:39:58.160
<v Speaker 2>guy with the with the with the laptop, you know,

1:39:58.720 --> 1:40:01.760
<v Speaker 2>creating the drop. That's all these songs. That's what these

1:40:01.840 --> 1:40:06.960
<v Speaker 2>rock songs are. Verse chorus, verse chorus, breakdown, middle eight

1:40:07.360 --> 1:40:12.439
<v Speaker 2>course chorus. They would I think, Bob, they would love

1:40:12.479 --> 1:40:17.040
<v Speaker 2>the energy, and that is what we do. It's look,

1:40:17.240 --> 1:40:21.240
<v Speaker 2>it's part super serving on the left and then part

1:40:21.360 --> 1:40:24.160
<v Speaker 2>education on the right. And I don't know if it's

1:40:24.160 --> 1:40:27.240
<v Speaker 2>it's maybe it's seventy thirty super serve educate, maybe it's

1:40:27.240 --> 1:40:29.759
<v Speaker 2>a little less. I like the educate. I like turning

1:40:29.920 --> 1:40:34.679
<v Speaker 2>bands onto people, and I have forced industry people to come.

1:40:36.520 --> 1:40:39.160
<v Speaker 2>I forced John McHugh to come to Rock on the

1:40:39.240 --> 1:40:42.200
<v Speaker 2>Range and we ended up doing a documentary about which

1:40:42.200 --> 1:40:45.639
<v Speaker 2>You're in the rock, about the rock festivals called long

1:40:45.680 --> 1:40:51.559
<v Speaker 2>Live Rock. There's a plug for you. So yes, all

1:40:51.640 --> 1:40:56.160
<v Speaker 2>day long, Coachella kids with your VIP and your daddy's money,

1:40:56.600 --> 1:40:57.960
<v Speaker 2>come out to one of our festivals.

1:40:58.360 --> 1:40:59.639
<v Speaker 1>And your kids are how old?

1:41:00.960 --> 1:41:04.280
<v Speaker 2>I have a twenty seven year old in Berlin and

1:41:04.320 --> 1:41:07.160
<v Speaker 2>a twenty five year old who is at Wasserman right

1:41:07.200 --> 1:41:09.240
<v Speaker 2>now in Brooklyn. They know they don't live in Manhattan.

1:41:09.439 --> 1:41:10.439
<v Speaker 2>They all live in Brooklyn.

1:41:10.600 --> 1:41:12.439
<v Speaker 1>Yeah, can't afford to live in Manhattan.

1:41:12.479 --> 1:41:15.400
<v Speaker 2>Never mind, Brooklyn is now hip but yeah and expensive.

1:41:15.479 --> 1:41:17.320
<v Speaker 1>You call them and say, I'm gonna fly out to

1:41:17.400 --> 1:41:19.880
<v Speaker 1>my festival. Are they into this kind of music?

1:41:22.080 --> 1:41:23.639
<v Speaker 2>That's a hard pass for them?

1:41:24.479 --> 1:41:26.879
<v Speaker 1>Okay? How about your wife?

1:41:28.560 --> 1:41:33.559
<v Speaker 2>Jill has been The great story of Jill Spivac is

1:41:33.600 --> 1:41:37.080
<v Speaker 2>she went to Louisville and Eddie Vedder, who at the

1:41:37.200 --> 1:41:41.320
<v Speaker 2>at the last song throws out tambourines, and there was

1:41:41.920 --> 1:41:43.800
<v Speaker 2>we were side of stage, and he had two. He

1:41:43.840 --> 1:41:45.720
<v Speaker 2>threw one out in the crowd and he threw one

1:41:45.720 --> 1:41:49.200
<v Speaker 2>to the side and she caught it. And it is

1:41:49.240 --> 1:41:53.680
<v Speaker 2>now in our playroom, not to be touched. It's it's

1:41:53.680 --> 1:41:56.360
<v Speaker 2>a spinal tap guitar. You can barely look at it.

1:41:57.840 --> 1:42:01.160
<v Speaker 2>But no, Jill, Jill's Jill, my kids. I'll tell you

1:42:01.200 --> 1:42:06.160
<v Speaker 2>what if Radiohead tours we're traveling we're deadheads for them,

1:42:06.360 --> 1:42:08.000
<v Speaker 2>so we'll go out with radio.

1:42:07.840 --> 1:42:10.200
<v Speaker 1>Okay, But Radiohead could never be at one of the

1:42:10.280 --> 1:42:11.719
<v Speaker 1>Danny Wimmer rock festivals.

1:42:11.880 --> 1:42:14.639
<v Speaker 2>That's okay, Radio he doesn't en play with guitars anymore,

1:42:14.680 --> 1:42:21.320
<v Speaker 2>so so that's nowhere. Yes, the Radiohead won won't be

1:42:21.320 --> 1:42:22.479
<v Speaker 2>playing one of these festivals.

1:42:22.560 --> 1:42:26.920
<v Speaker 1>Yes, And since you've been doing these festivals, tell me

1:42:26.960 --> 1:42:30.599
<v Speaker 1>about two performances that stick in your head.

1:42:34.520 --> 1:42:36.640
<v Speaker 2>What put us on the map in two thousand and

1:42:36.720 --> 1:42:39.760
<v Speaker 2>eight was the return of their first show in seven

1:42:39.880 --> 1:42:43.439
<v Speaker 2>years of the Stone Temple Pilots with Scott Land Big

1:42:43.479 --> 1:42:49.840
<v Speaker 2>Band for our Core sold it out. That put people

1:42:49.880 --> 1:42:54.520
<v Speaker 2>in the industry like, oh, those guys aren't fucking around.

1:42:55.080 --> 1:42:58.640
<v Speaker 2>And then probably what comes to mind is the Food Fighters.

1:42:58.720 --> 1:43:02.080
<v Speaker 2>At the first time we had the Foo Fighters Welcome

1:43:02.120 --> 1:43:08.719
<v Speaker 2>to Rockville, and something happened in that crowd and Dave Grohl,

1:43:08.880 --> 1:43:12.360
<v Speaker 2>Pat Smear Chris will cite that show as one of

1:43:12.400 --> 1:43:17.519
<v Speaker 2>their favorite American shows ever he can YouTube it because

1:43:17.920 --> 1:43:21.479
<v Speaker 2>something there was an insane amount of crowdsurfing, to the

1:43:21.479 --> 1:43:24.640
<v Speaker 2>point where Dave stopped the song and goes, hey, promoters,

1:43:24.720 --> 1:43:26.760
<v Speaker 2>is there, like, do you guys have like a crowdsurfing

1:43:26.760 --> 1:43:30.960
<v Speaker 2>contest going it was hysterical. It just worked. Man, when

1:43:31.000 --> 1:43:34.320
<v Speaker 2>a band connects, they're like the ultimate. They're the they're

1:43:34.360 --> 1:43:36.919
<v Speaker 2>the ault. They could play in your backyard. They're they're

1:43:36.960 --> 1:43:40.439
<v Speaker 2>the ultimate rock and roll party band because they have energy,

1:43:41.080 --> 1:43:45.040
<v Speaker 2>songs and attitude and and that and production at the

1:43:45.120 --> 1:43:49.400
<v Speaker 2>songs and it just works. So those two shows come

1:43:49.439 --> 1:43:51.080
<v Speaker 2>to mind. Thank you for asking that question.

1:43:51.200 --> 1:43:53.920
<v Speaker 1>And then you were just at Wimbledon. That's an event.

1:43:54.360 --> 1:43:56.479
<v Speaker 1>Did you learn anything at wimbled in that you can

1:43:56.560 --> 1:43:58.760
<v Speaker 1>translate into your own business?

1:43:59.400 --> 1:44:03.040
<v Speaker 2>It's the you know, that's that's Coachella. You know, you go,

1:44:03.520 --> 1:44:07.720
<v Speaker 2>you go to Coachella and you're like the grass and

1:44:07.800 --> 1:44:10.840
<v Speaker 2>how compact it was. And I like that, you know

1:44:10.880 --> 1:44:13.960
<v Speaker 2>at at at at Sonic Temple in Ohio, it's it's

1:44:13.960 --> 1:44:16.320
<v Speaker 2>in a stadium and then there's grounds you can kind

1:44:16.320 --> 1:44:19.639
<v Speaker 2>of put your arms. I hate these vast festivals where

1:44:19.640 --> 1:44:24.920
<v Speaker 2>you're getting your steps in too much. And no, thank

1:44:24.960 --> 1:44:29.040
<v Speaker 2>you for asking. It was Wimbledon was remarkable and everything

1:44:29.080 --> 1:44:33.479
<v Speaker 2>I thought it would be. And I wish I was

1:44:33.520 --> 1:44:37.720
<v Speaker 2>there still because that is the mecca. As you know,

1:44:37.800 --> 1:44:40.200
<v Speaker 2>I want to go to Glastonbury. I haven't been. I

1:44:40.200 --> 1:44:43.320
<v Speaker 2>feel that's probably the mecca of the overseas festivals.

1:44:44.439 --> 1:44:52.240
<v Speaker 1>Without talking about Glastonbury. Is every festival branded separately or

1:44:52.360 --> 1:44:55.600
<v Speaker 1>is there one place where you can go as a

1:44:55.640 --> 1:44:59.559
<v Speaker 1>consumer and find all of these rock festivals.

1:45:00.280 --> 1:45:03.479
<v Speaker 2>Danny Rember Presents. Yeah, they're they're all there. We we

1:45:03.520 --> 1:45:08.080
<v Speaker 2>will do certain packages, but we'd like to separate them.

1:45:08.439 --> 1:45:12.280
<v Speaker 2>You know. It's it's it's a company whose hedgehog, whose

1:45:12.280 --> 1:45:16.040
<v Speaker 2>wheelhouse is rock festivals. But there is Bourbon and beyond

1:45:16.360 --> 1:45:20.120
<v Speaker 2>there is Golden Sky, which is a country festival, and

1:45:20.360 --> 1:45:23.000
<v Speaker 2>and and then there's a big casino business that the

1:45:23.040 --> 1:45:27.800
<v Speaker 2>company has too. But yeah, it's it's, it's all there.

1:45:28.080 --> 1:45:31.639
<v Speaker 2>I don't see another company doing what this company does

1:45:32.160 --> 1:45:35.519
<v Speaker 2>and just waving the rock flag when very few want to.

1:45:36.560 --> 1:45:40.840
<v Speaker 2>You know, it's it's it's it's a passion play and

1:45:40.880 --> 1:45:44.160
<v Speaker 2>it's it's hard. It's it's it's it's hard to put

1:45:44.160 --> 1:45:50.480
<v Speaker 2>these on. It takes a fucking village. And it's in negotiating.

1:45:51.200 --> 1:45:55.360
<v Speaker 2>I love to negotiate, I love to hustle, and it's

1:45:55.439 --> 1:45:58.519
<v Speaker 2>just it's just a siege on on on your nervous system.

1:45:58.880 --> 1:46:01.320
<v Speaker 2>But it's it's what I signed up for, you know.

1:46:01.439 --> 1:46:03.960
<v Speaker 2>They what's saying, Uh, you don't find rock and roll,

1:46:04.040 --> 1:46:08.920
<v Speaker 2>rock and roll finds you. I'm a sucker in that.

1:46:11.000 --> 1:46:12.800
<v Speaker 2>Can I tell you something? Yeah, And I just thought

1:46:12.800 --> 1:46:16.679
<v Speaker 2>of this. I graduated from University of Colorado. My father,

1:46:16.960 --> 1:46:21.759
<v Speaker 2>who's still alive, my mom, who passed. My dad joined

1:46:21.760 --> 1:46:25.760
<v Speaker 2>to start up in nineteen sixty two called ibm uh

1:46:25.840 --> 1:46:30.600
<v Speaker 2>huh was an IBM or and here I am a

1:46:30.640 --> 1:46:32.760
<v Speaker 2>ski rat and a drummer. And what I got for

1:46:32.880 --> 1:46:38.680
<v Speaker 2>my graduation was a briefcase in a suit. I just

1:46:38.720 --> 1:46:41.200
<v Speaker 2>and I could laugh about it now with my dad,

1:46:41.200 --> 1:46:43.680
<v Speaker 2>but I was so pissed off because they, like, they

1:46:43.680 --> 1:46:47.400
<v Speaker 2>didn't get me. That's not I want to I want

1:46:47.400 --> 1:46:48.640
<v Speaker 2>to be a drummer. I want to be in rock

1:46:48.680 --> 1:46:53.200
<v Speaker 2>and roll. And I'm like, all right. So I had

1:46:53.240 --> 1:46:57.400
<v Speaker 2>this dichotomy, you know, of growing up in a businessman's

1:46:57.400 --> 1:47:01.560
<v Speaker 2>house but loving rock and roll. Like, I guess, if

1:47:01.600 --> 1:47:03.080
<v Speaker 2>I'm not going to be a rock and roll drummer,

1:47:03.520 --> 1:47:05.280
<v Speaker 2>I'm gonna I'm gonna find a way to be in

1:47:05.360 --> 1:47:06.679
<v Speaker 2>the business of music.

1:47:08.320 --> 1:47:11.760
<v Speaker 1>Okay, So they gave you the suit in the briefcase,

1:47:12.439 --> 1:47:14.240
<v Speaker 1>you got your diploma. Then what.

1:47:16.200 --> 1:47:19.360
<v Speaker 2>There was two shows that shape my life. One was

1:47:19.400 --> 1:47:22.360
<v Speaker 2>The US Festival, I wouldn't be here talking to you,

1:47:22.400 --> 1:47:25.240
<v Speaker 2>which again I'm extremely grateful and humble about at this moment.

1:47:26.240 --> 1:47:28.880
<v Speaker 2>But the US Festival, and in eighty three and then

1:47:29.120 --> 1:47:33.240
<v Speaker 2>Jane's Addiction did seven shows at the John Ansen Ford

1:47:33.280 --> 1:47:37.439
<v Speaker 2>Theater in Hollywood, two thousand capacity. Quick story on that.

1:47:37.560 --> 1:47:40.280
<v Speaker 2>I'm a kid, I'm a young twenty four year old

1:47:41.560 --> 1:47:45.799
<v Speaker 2>and I get lost in that show, like mentally lost,

1:47:46.200 --> 1:47:49.519
<v Speaker 2>and there's I've since talked to Perry Ferrell about this,

1:47:49.880 --> 1:47:53.120
<v Speaker 2>and he remembers there was a rope between the you know,

1:47:53.120 --> 1:47:56.200
<v Speaker 2>you know, Jennet's four right on the left side and

1:47:56.240 --> 1:47:59.760
<v Speaker 2>right side there's a little kind of VIP area. Somehow, somehow,

1:47:59.880 --> 1:48:02.160
<v Speaker 2>my I, my friend and I Joshua Barbone found our

1:48:02.200 --> 1:48:07.000
<v Speaker 2>way Mark Pollock, Hi, Mark got us tickets and I

1:48:07.040 --> 1:48:09.040
<v Speaker 2>found my way to this VIP and there's a rope

1:48:09.360 --> 1:48:12.360
<v Speaker 2>that connected to the monitors and this VIP area and

1:48:12.360 --> 1:48:15.000
<v Speaker 2>they were playing pigs and zen and I climb up,

1:48:15.080 --> 1:48:18.640
<v Speaker 2>I jump on the rope and I'm I'm hanging on

1:48:18.680 --> 1:48:22.000
<v Speaker 2>a rope like a monkey, and soon enough like security

1:48:22.080 --> 1:48:24.559
<v Speaker 2>grabs me and I get kicked out. This is before

1:48:24.560 --> 1:48:27.000
<v Speaker 2>cell phones, and I'm out, and this is like one

1:48:27.000 --> 1:48:28.960
<v Speaker 2>of the greatest shows of my life. And I'm like,

1:48:29.000 --> 1:48:32.880
<v Speaker 2>I gotta find my way back in, and I sneak backstage.

1:48:32.920 --> 1:48:34.479
<v Speaker 2>I don't know how I got it, but I sneak

1:48:34.520 --> 1:48:37.280
<v Speaker 2>back and I have to be incognito. And it was

1:48:37.320 --> 1:48:39.559
<v Speaker 2>a bunch of Hollywood freaks out there, but there was

1:48:39.600 --> 1:48:42.439
<v Speaker 2>one average looking dude. I'm like, that guy could be

1:48:42.479 --> 1:48:45.360
<v Speaker 2>in my fraternity and I go up to him and

1:48:45.400 --> 1:48:47.240
<v Speaker 2>we watched half a song and I go, Hi, I'm

1:48:47.240 --> 1:48:50.880
<v Speaker 2>Gary and he goes, hey, I'm Mark, and I go

1:48:50.960 --> 1:48:52.720
<v Speaker 2>what do you do? He's like, I'm the agent for

1:48:52.760 --> 1:48:56.320
<v Speaker 2>the band, and I go in my mind, I'm like,

1:48:56.360 --> 1:48:59.639
<v Speaker 2>I better say something. I'm like, how big is John

1:48:59.640 --> 1:49:02.160
<v Speaker 2>answered fours? It's about two thousand, and I do, like

1:49:02.320 --> 1:49:06.639
<v Speaker 2>seven nights fourteen thousand, Wow, you could have booked the Forum.

1:49:07.240 --> 1:49:10.160
<v Speaker 2>And he looks at me like only Mark Geiger knows

1:49:10.160 --> 1:49:14.000
<v Speaker 2>how to look at somebody and goes the Forum We're

1:49:14.040 --> 1:49:17.280
<v Speaker 2>playing seven fucking Nights at John Ansen Ford and walks away.

1:49:17.600 --> 1:49:21.000
<v Speaker 2>And that was the first time I met Mark Geiger. Anyway,

1:49:21.000 --> 1:49:23.960
<v Speaker 2>I go back to the show and I end up

1:49:24.439 --> 1:49:28.920
<v Speaker 2>getting an interview through a girlfriend that I was dating

1:49:29.800 --> 1:49:33.599
<v Speaker 2>at Electra records to be an assistant, and I didn't

1:49:33.600 --> 1:49:35.840
<v Speaker 2>want it. I didn't want the job. I had long hair,

1:49:35.960 --> 1:49:38.840
<v Speaker 2>I didn't know what I was doing. But I go

1:49:38.880 --> 1:49:41.320
<v Speaker 2>into the meeting at five point thirty. I'll never forget this.

1:49:42.439 --> 1:49:46.040
<v Speaker 2>The head of promotion, his name is Brad Hunt. Love

1:49:46.120 --> 1:49:48.439
<v Speaker 2>him and hate him for getting me into this world.

1:49:48.840 --> 1:49:50.760
<v Speaker 2>He has a stack of resumes and he looks at

1:49:50.760 --> 1:49:54.519
<v Speaker 2>my resume and words to the wise to any young

1:49:54.560 --> 1:49:57.760
<v Speaker 2>person listening when you go to interview, just be relaxed

1:49:57.960 --> 1:50:00.280
<v Speaker 2>and be you, because that's what I was at certain

1:50:00.280 --> 1:50:02.479
<v Speaker 2>interview because I didn't really care, and he looks at

1:50:02.520 --> 1:50:05.040
<v Speaker 2>my resume. He goes ah University of Colorado, and this

1:50:05.120 --> 1:50:07.920
<v Speaker 2>is the year the Colorado Buffalo's won the national championship.

1:50:08.560 --> 1:50:11.160
<v Speaker 2>And I'm kind of a big college football guy too,

1:50:11.360 --> 1:50:13.840
<v Speaker 2>so that our interview was fifty minutes of talking about

1:50:13.880 --> 1:50:17.559
<v Speaker 2>college football and then your favorite bands and everything, and

1:50:17.560 --> 1:50:19.680
<v Speaker 2>he's like, you know what I'm gonna I'm going to

1:50:19.800 --> 1:50:24.040
<v Speaker 2>leave this resume over here. I'm having a going away

1:50:24.080 --> 1:50:25.920
<v Speaker 2>party a couple nights later, because I was going to

1:50:25.960 --> 1:50:29.120
<v Speaker 2>move to San Francisco and live with my college roommate,

1:50:29.240 --> 1:50:33.080
<v Speaker 2>Rodney Lou who was a stockbroker and he had an

1:50:33.080 --> 1:50:35.320
<v Speaker 2>apartment and take my drum set and go live in

1:50:35.320 --> 1:50:37.800
<v Speaker 2>San Francisco. And I'm having to go away party in

1:50:37.840 --> 1:50:41.240
<v Speaker 2>the phone rings and I pick it up. I'm like hello,

1:50:41.600 --> 1:50:43.960
<v Speaker 2>He's like Gary, this is this is Brad Hunt and

1:50:44.040 --> 1:50:46.840
<v Speaker 2>I'm doing a sign now I cut the music, cut

1:50:46.840 --> 1:50:49.840
<v Speaker 2>off the party. Mike kai Brad and he's like, what

1:50:49.880 --> 1:50:53.360
<v Speaker 2>do you think about San Francisco? And I go for

1:50:53.400 --> 1:50:55.760
<v Speaker 2>an assistance job. He's like, no, I got a better

1:50:55.800 --> 1:50:59.280
<v Speaker 2>idea something about you. I'm going to put you in

1:50:59.280 --> 1:51:01.920
<v Speaker 2>the field and I'm going to offer you twenty seven

1:51:01.960 --> 1:51:04.880
<v Speaker 2>thousand dollars. And I was twenty five. Do you remember

1:51:04.960 --> 1:51:09.000
<v Speaker 2>the time when like you made more than your age.

1:51:09.720 --> 1:51:10.840
<v Speaker 2>I was like a big moment.

1:51:11.560 --> 1:51:11.960
<v Speaker 1>Yeah.

1:51:12.120 --> 1:51:15.080
<v Speaker 2>So I'm like yes. And so I'm like, hey, everybody,

1:51:15.760 --> 1:51:18.960
<v Speaker 2>I just got a job. So I became the Electro

1:51:19.040 --> 1:51:23.960
<v Speaker 2>local in San Francisco and it was glorious for four months,

1:51:25.120 --> 1:51:27.160
<v Speaker 2>and then I got a call that Electra Records this

1:51:27.240 --> 1:51:31.880
<v Speaker 2>is ninety one was cutting its staff in half. So

1:51:32.320 --> 1:51:35.320
<v Speaker 2>because I was so cheap, they were so cheap, and

1:51:35.360 --> 1:51:37.720
<v Speaker 2>I had such a cheap salary, they didn't fire me,

1:51:37.840 --> 1:51:40.400
<v Speaker 2>and they moved me to Denver, so because I went

1:51:40.439 --> 1:51:44.559
<v Speaker 2>to the University of Colorado and I spent six months

1:51:45.000 --> 1:51:47.840
<v Speaker 2>in as the Denver local and bob to this day

1:51:47.960 --> 1:51:50.519
<v Speaker 2>as a ski rat. I'll never forget it. It was

1:51:50.560 --> 1:51:53.439
<v Speaker 2>the first snowfall and I had all my ski passes

1:51:53.439 --> 1:51:55.960
<v Speaker 2>lined up because of all the local radio stations, and

1:51:56.479 --> 1:51:59.040
<v Speaker 2>Brad Hunt again called me. It's like, I'm going to

1:51:59.080 --> 1:52:01.559
<v Speaker 2>promote you to Los Angele like, this is ten months

1:52:01.640 --> 1:52:05.679
<v Speaker 2>and I'm looking at the snow. I'm like, ah, I'm

1:52:05.680 --> 1:52:09.080
<v Speaker 2>going home. And that led to Electure in Los Angeles,

1:52:09.760 --> 1:52:13.320
<v Speaker 2>and at the time this is now if you remember,

1:52:13.360 --> 1:52:16.360
<v Speaker 2>there were about twenty alternative stations and I knew something

1:52:16.439 --> 1:52:18.640
<v Speaker 2>was going to click. I knew something was going to

1:52:18.680 --> 1:52:21.840
<v Speaker 2>happen with that format, and I worked at Electra and

1:52:21.840 --> 1:52:24.160
<v Speaker 2>loved it. It's where I met Dell Williams, by the way,

1:52:24.680 --> 1:52:29.600
<v Speaker 2>and I took a job at MCA Records as the

1:52:29.600 --> 1:52:34.439
<v Speaker 2>head of Alternative, which was the worst alternative label for

1:52:34.520 --> 1:52:38.519
<v Speaker 2>alternative in the industry, but it did have a guy

1:52:38.560 --> 1:52:42.920
<v Speaker 2>named Gary Kerr first God bless him, who had a

1:52:43.040 --> 1:52:46.280
<v Speaker 2>label called Radioactive who had the Ramones and a couple

1:52:46.360 --> 1:52:49.240
<v Speaker 2>other bands, but he had this band Live that had

1:52:49.280 --> 1:52:55.200
<v Speaker 2>throwing copper and that I broke Live with Gary. That

1:52:55.240 --> 1:53:00.320
<v Speaker 2>became my resume. That led me to Atlantic, which that's

1:53:00.360 --> 1:53:03.240
<v Speaker 2>where my two kids were born, led me to Capital,

1:53:04.040 --> 1:53:06.799
<v Speaker 2>and led me to my final and by the way Capital,

1:53:07.240 --> 1:53:10.439
<v Speaker 2>I got to work with Radiohead, and I took a

1:53:10.479 --> 1:53:13.840
<v Speaker 2>band that nobody believed in and nobody in America wanted

1:53:13.880 --> 1:53:17.479
<v Speaker 2>to hear about, called Coldplay. They had a song called Yellow,

1:53:18.040 --> 1:53:21.000
<v Speaker 2>Sorry for giving You My life story, No No Go,

1:53:24.240 --> 1:53:26.360
<v Speaker 2>and very few people believed in it. There was a

1:53:26.400 --> 1:53:29.439
<v Speaker 2>station at Portland, Oregon, K and RK and Lisa Warden

1:53:29.479 --> 1:53:32.360
<v Speaker 2>at K Rock and they put Yellow in and the

1:53:32.360 --> 1:53:35.679
<v Speaker 2>rest for that band is history. And we broke Coldplay.

1:53:36.000 --> 1:53:38.920
<v Speaker 2>A new regime came in which happens at record labels,

1:53:39.080 --> 1:53:42.080
<v Speaker 2>or happened at record labels, and I was one of

1:53:42.120 --> 1:53:46.680
<v Speaker 2>seventeen vice presidents. When I was fired, I was one

1:53:46.720 --> 1:53:50.080
<v Speaker 2>of two vice presidents remaining, me and Rob Borden, and

1:53:51.400 --> 1:53:53.160
<v Speaker 2>I was let go because I just wasn't part of

1:53:53.200 --> 1:53:57.000
<v Speaker 2>their plan. And for anybody listening who hasn't been fired,

1:53:57.320 --> 1:54:00.560
<v Speaker 2>I hope you get fired one day, because it was

1:54:00.600 --> 1:54:03.200
<v Speaker 2>the greatest thing that happened to me in many ways

1:54:03.240 --> 1:54:08.240
<v Speaker 2>at the time, it was fucking heartbreaking and scary, and

1:54:08.280 --> 1:54:09.559
<v Speaker 2>I went out on my own terms. I got one

1:54:09.560 --> 1:54:11.840
<v Speaker 2>more label job, but Geffen was just a stop because

1:54:11.840 --> 1:54:13.280
<v Speaker 2>I was thinking about what am I going to do?

1:54:13.720 --> 1:54:17.880
<v Speaker 2>And that's when myself and Dell Williams aligned and Danny

1:54:17.880 --> 1:54:22.120
<v Speaker 2>Wimmer and we formed right our entertainment and started rocking

1:54:22.160 --> 1:54:25.320
<v Speaker 2>the range of Carolina Rebellion, and that led me to

1:54:25.360 --> 1:54:26.639
<v Speaker 2>where I am at this very moment.

1:54:27.200 --> 1:54:31.600
<v Speaker 1>Okay, just one fill in. Most people graduated from college

1:54:32.160 --> 1:54:35.040
<v Speaker 1>at twenty two. You didn't get the job with Brad

1:54:35.120 --> 1:54:37.920
<v Speaker 1>Hunt at twenty five? Would you do in that period

1:54:37.960 --> 1:54:38.360
<v Speaker 1>of time?

1:54:39.400 --> 1:54:44.080
<v Speaker 2>I farted around. I took a job with Premiere Radio

1:54:44.160 --> 1:54:49.440
<v Speaker 2>Networks in selling syndicated radio shows to radio stations. I

1:54:49.480 --> 1:54:53.320
<v Speaker 2>think that helped with Brad Hunt, though he cared more

1:54:53.320 --> 1:54:58.200
<v Speaker 2>about college football seriously, and that led me to meet

1:54:58.400 --> 1:55:01.560
<v Speaker 2>Mark Pollock, who was at home Holliwood reporter, who led

1:55:01.600 --> 1:55:06.440
<v Speaker 2>me to get Jane's Addiction tickets. So I had that job.

1:55:06.880 --> 1:55:11.040
<v Speaker 2>I was drumming in a couple struggling LA bands. One

1:55:11.040 --> 1:55:13.200
<v Speaker 2>of them was called the Riddom bandits an all white

1:55:13.200 --> 1:55:16.640
<v Speaker 2>reggae band. R I D D I M. I love

1:55:16.680 --> 1:55:19.480
<v Speaker 2>reggae music. And at the time I thought reggae would

1:55:19.480 --> 1:55:22.320
<v Speaker 2>take over the world. And this reggae that I personally

1:55:22.360 --> 1:55:26.760
<v Speaker 2>really love is mostly like the British Steel Pulse oz

1:55:26.840 --> 1:55:29.760
<v Speaker 2>Wad that there's a punk ethic with those bands that

1:55:29.800 --> 1:55:33.320
<v Speaker 2>I that I really enjoyed. Bob Marley of course, Black Ohuru.

1:55:33.920 --> 1:55:36.960
<v Speaker 2>So we were a roots reggae band and we we

1:55:37.040 --> 1:55:40.680
<v Speaker 2>got on K Rock's Reggae Revolution, big moment I got.

1:55:40.720 --> 1:55:44.480
<v Speaker 2>We got opening gigs for Ecamouse and Yellow Man, and

1:55:44.920 --> 1:55:48.040
<v Speaker 2>we had a couple label meetings. One of them was

1:55:48.160 --> 1:55:51.920
<v Speaker 2>IRS Records, and one of the A and R guys

1:55:52.200 --> 1:55:53.960
<v Speaker 2>it was like Junior and our guys said, you know,

1:55:54.120 --> 1:55:56.360
<v Speaker 2>because I was a spokesperson because everybody else was too

1:55:56.360 --> 1:56:00.760
<v Speaker 2>stoned or whatever about things. And they said, one guy said,

1:56:00.920 --> 1:56:05.000
<v Speaker 2>you'd be really good at promotion, and I'm like, what's that?

1:56:05.440 --> 1:56:07.920
<v Speaker 2>And I led me to interview at IRS. By the way,

1:56:07.920 --> 1:56:10.320
<v Speaker 2>they ended up not signing the Ridden Bandits. Obviously, they

1:56:10.600 --> 1:56:15.080
<v Speaker 2>went with dread Zeppelin. Remember that one, of course you do.

1:56:15.440 --> 1:56:18.920
<v Speaker 2>Of course I love that for anybody who doesn't know

1:56:18.960 --> 1:56:22.960
<v Speaker 2>dread Zeppelin. They were a reggae band covering Zeppelin songs,

1:56:22.960 --> 1:56:26.720
<v Speaker 2>but the lead singer was an Elvis Presley impersonator. How

1:56:26.720 --> 1:56:30.000
<v Speaker 2>about that lost out to that. I think they live

1:56:30.080 --> 1:56:32.400
<v Speaker 2>comfortably in the where they now filed. Right.

1:56:32.760 --> 1:56:35.760
<v Speaker 1>Okay, did you ever use the suit your father got?

1:56:35.880 --> 1:56:42.760
<v Speaker 2>Ye? Yeah, probably that friend's the younger kids bar mitzvahs

1:56:42.880 --> 1:56:48.000
<v Speaker 2>or something. The briefcase I used for My wife used

1:56:48.040 --> 1:56:50.240
<v Speaker 2>it for she had a photo shoot once she got

1:56:50.280 --> 1:56:53.880
<v Speaker 2>like a Miller's outpost. We were dating, so she I

1:56:53.920 --> 1:56:55.160
<v Speaker 2>think I still have that briefcase.

1:56:56.760 --> 1:57:01.120
<v Speaker 1>And at what point did your parents accept your career path?

1:57:02.640 --> 1:57:05.000
<v Speaker 2>God bless them. They still to this day don't know

1:57:05.040 --> 1:57:05.880
<v Speaker 2>what I really do.

1:57:06.520 --> 1:57:10.040
<v Speaker 1>Well, it's one thing not to know, it's another thing

1:57:10.160 --> 1:57:13.920
<v Speaker 1>to respect or accept totally respect.

1:57:14.240 --> 1:57:16.360
<v Speaker 2>And there was a moment we had a show called

1:57:16.360 --> 1:57:23.320
<v Speaker 2>Epicenter in in Pomona and we had tool and Lincoln

1:57:23.400 --> 1:57:27.040
<v Speaker 2>Park Alison chains and they went to it. I got

1:57:27.120 --> 1:57:30.240
<v Speaker 2>them on the side of stage. My dad was wearing

1:57:30.280 --> 1:57:34.280
<v Speaker 2>an Epicenter hat and they I think they were like,

1:57:34.640 --> 1:57:39.400
<v Speaker 2>this kid is doing all right. You know, they were

1:57:39.560 --> 1:57:41.360
<v Speaker 2>at to a point where I am, as a parent,

1:57:41.960 --> 1:57:45.320
<v Speaker 2>as long as your kid is happy. As long as

1:57:45.320 --> 1:57:47.400
<v Speaker 2>your kid is happy, that that's that's it.

1:57:47.520 --> 1:57:50.040
<v Speaker 1>Okay, you got two kids, you stip of money.

1:57:51.400 --> 1:57:54.520
<v Speaker 2>Uh, they're still on the spivac company teat a little bit.

1:57:55.880 --> 1:57:57.600
<v Speaker 2>For some reason, they're still on. We still have a

1:57:57.640 --> 1:58:00.960
<v Speaker 2>cell phone family plan, and I'm like, why are they

1:58:01.000 --> 1:58:04.280
<v Speaker 2>Why are we pay for their cell phone bill? I

1:58:04.280 --> 1:58:08.720
<v Speaker 2>gotta get them off. No, they're almost but they're yes

1:58:08.840 --> 1:58:11.440
<v Speaker 2>little thing. When if my daughter's going to fly to

1:58:11.560 --> 1:58:13.040
<v Speaker 2>l A, I'm going to pay for that.

1:58:14.400 --> 1:58:16.000
<v Speaker 1>Okay, I don't want I got a lot of questions.

1:58:16.040 --> 1:58:18.760
<v Speaker 1>I'm want to go too deep down that avenue. Gary.

1:58:18.800 --> 1:58:20.440
<v Speaker 1>I want to thank you for taking all this time

1:58:20.480 --> 1:58:22.320
<v Speaker 1>and telling your story and giving us the nuts and

1:58:22.320 --> 1:58:23.360
<v Speaker 1>bull to the rock.

1:58:23.160 --> 1:58:26.200
<v Speaker 2>World, Bob, thank you for having me, thank you for

1:58:26.280 --> 1:58:29.320
<v Speaker 2>letting me kind of wave a rock and roll flag.

1:58:30.560 --> 1:58:32.240
<v Speaker 2>We're on the other side of the tracks most of

1:58:32.280 --> 1:58:36.000
<v Speaker 2>the time. We don't get these looks. So I appreciate you.

1:58:36.360 --> 1:58:39.960
<v Speaker 2>I appreciate you for being a microphone and standing up

1:58:40.040 --> 1:58:44.560
<v Speaker 2>and having moral character and fiber. We're in a we're

1:58:44.600 --> 1:58:48.400
<v Speaker 2>in a dark spot right now. I'm still optimistic that

1:58:48.520 --> 1:58:53.280
<v Speaker 2>America will take its cue from Britain and France, you know,

1:58:53.600 --> 1:58:57.200
<v Speaker 2>so that let's I would like to take this moment

1:58:57.240 --> 1:59:00.000
<v Speaker 2>to say we should Hopefully you're in the near future,

1:59:00.080 --> 1:59:02.160
<v Speaker 2>or have our peace and say it, but let's stop

1:59:02.200 --> 1:59:06.280
<v Speaker 2>the boat leaking. The far right is loving what's happening

1:59:06.480 --> 1:59:11.040
<v Speaker 2>to us right now. They're eating it up. So hopefully

1:59:11.080 --> 1:59:16.720
<v Speaker 2>we'll pick, we'll have a unified moment. We need that.

1:59:16.720 --> 1:59:22.000
<v Speaker 2>That goes to you too, George Clooney. So whoever it is,

1:59:22.480 --> 1:59:25.360
<v Speaker 2>let's be unified. So good wins over you.

1:59:26.760 --> 1:59:30.280
<v Speaker 1>Well, I put it until next time. This is Bob

1:59:30.400 --> 1:59:31.000
<v Speaker 1>Left sens