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Speaker 1: Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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Speaker 1: My guest today is the co CEO and president of

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Speaker 1: Concerts West John meglan Don. Good to have you, hello,

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Speaker 1: Bob could be here, okay, So tell me how you

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Speaker 1: ended up deciding to put Celine Dion and Vegas. Oh

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Speaker 1: my god, right to it. Um, Well, number one, it

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Speaker 1: was actually her idea. Well really I didn't know that.

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Speaker 1: Oh yeah, the idea was hers. I mean she went

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Speaker 1: and saw. Oh it was when she had retired, kind

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Speaker 1: of took time off because she was going to go

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Speaker 1: have a kid and all that, and she went and

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Speaker 1: saw oh. And after she saw it, she basically said

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Speaker 1: to Renee, when I come back, I'd like to do

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Speaker 1: something like that. And Renee being Rene and her husband

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Speaker 1: and Rene Bian really the brilliant guy that he is,

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Speaker 1: was um, you know, he he had that Elvis Colonel

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Speaker 1: Parker mentality that it was a it was a belief

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Speaker 1: in him. Of of he loved the colonel. He really

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Speaker 1: loved the colonel when he loved the way the whole

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Speaker 1: Elvis sing in Vegas. So that was a big part

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Speaker 1: of it for Renee. So instinctually he knew how to

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Speaker 1: put it together. Okay, So you've been working with them

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Speaker 1: before I had, Well, I hadn't been working with them before.

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Speaker 1: I had been working with Lloyd Brow who worked for them,

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Speaker 1: And Lloyd originally worked for Donald Kay Donald up in

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Speaker 1: Montreal when I was working for Michael Cole. So that's

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Speaker 1: how we knew each other. I heard about the thing

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Speaker 1: and thought it was a brilliant idea, but didn't have

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Speaker 1: the money to do it. And at the time, what

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Speaker 1: was happening at the time is that there was a

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Speaker 1: man named Arthur Goldberg who was the president of Caesar's Palace,

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Speaker 1: and Arthur and Renee we're going to do this steel themselves. Okay,

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Speaker 1: there was no outside person. Arthur unfortunately passed away. When

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Speaker 1: Arthur passed away, and the new president, I think it

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Speaker 1: was a guy named Tom Who it was? Guy named

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Speaker 1: Tom Gallagher was the CEO of park Place Entertainment. They

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Speaker 1: owned Caesar's at the time. Um. He said, look, we'll

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Speaker 1: build the building, but we're not in the show business,

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Speaker 1: you know, find somebody else to do the show. So

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Speaker 1: that was our window. Okay. So how many years did

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Speaker 1: you make the deal for originally? Uh? Two? How many

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Speaker 1: didn't end up running? Uh? Sixteen, almost seventeen, and you

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Speaker 1: had an exclusive on the building, right absolutely, which just ended, Yeah,

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Speaker 1: just ended. Well it will end July one. And you

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Speaker 1: know some of these things you may or may not

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Speaker 1: be able to want the answer, how can we decided

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Speaker 1: not to renew the building? Well, wasn't that necessarily that

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Speaker 1: we didn't decide? I think that one there was a

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Speaker 1: miscommunication between our organization being involved in the arena at

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Speaker 1: MGM UM and that had something to do with us

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Speaker 1: operating the colisseum and that so um. But at the

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Speaker 1: end of the day, you know, they picked their horse

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Speaker 1: after all these years. I don't know why exactly, but

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Speaker 1: you know we're not happy about it. Okay. So the

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Speaker 1: original deal she did how many dates a year? Well,

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Speaker 1: the original deal was two hundred shows a year, which

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Speaker 1: was unheard of, and it was for two years, and

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Speaker 1: it was five shows a week, forty weeks a year.

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Speaker 1: We were keeping two weeks for maintenance of the theater

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Speaker 1: or the show, and then we wanted to go out

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Speaker 1: and find someone else to do the other ten weeks. Now,

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Speaker 1: that other ten ultimately turned out to be Elton, correct,

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Speaker 1: and he did all ten um initially. Yeah, I mean

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Speaker 1: at the very beginning, it was only Selene and Elton,

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Speaker 1: you know. Oh, I'm sorry. And then there was you know,

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Speaker 1: a few weekends of Jerry Seinfeld. Okay, So the building

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Speaker 1: was essentially open, like nights a year. Not only that,

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Speaker 1: we would program Asian shows for New Year's Eve. Uh,

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Speaker 1: I'm sorry for Christmas Eve Christmas Day a different type

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Speaker 1: of holiday for them. So I mean we tried to

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Speaker 1: book that building as much as we could. But yes,

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Speaker 1: that building was full all the time. Not to what

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Speaker 1: degree was your company at risk? M Well, we're at

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Speaker 1: risk for all of Well initially, I mean you're talking

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Speaker 1: hundreds of millions of dollars um one. Nobody thought it

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Speaker 1: would work. So you told me the famous story of

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Speaker 1: Martyr looking, why do you tell the audience? Oh? Man, Marty,

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Speaker 1: it was great, Barty. I think it was at the

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Speaker 1: Grammys about a year after we had opened, and Marty

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Speaker 1: walked up to me and he said, you know, Magdalen,

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Speaker 1: only two people in this business I ever thought this

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Speaker 1: thing would work. You and I still haven't met the

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Speaker 1: other one. And of course Marty is the longtime manager

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Speaker 1: of Barbara Streisan. But when you went into Vegas, no

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Speaker 1: other rock pop stars were there right. No, I mean

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Speaker 1: at the time, it was you know, it was Circus

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Speaker 1: l A and Siegfried and Roy. That was it. And

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Speaker 1: to what degree did the tickets sell? You know, it

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Speaker 1: was it was a roller coaster at the beginning. Okay. Uh,

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Speaker 1: the initial sales were great just because of such a

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Speaker 1: tremendous fan base and and I swear Canada could have

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Speaker 1: carried you know, the first one shows um, but it

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Speaker 1: took a while. We kept saying to ourselves, this is

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Speaker 1: not as sprint as the marathon. That was our That's

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Speaker 1: always been our line. These aren't sprints. These are marathons.

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Speaker 1: It's got to build over time, you know, don't try

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Speaker 1: to do everything at once. Spread it out a little

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Speaker 1: bit and it seems to work. So did business stay

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Speaker 1: steady all the way through the run? No? Uh, we

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Speaker 1: all everything dropped in two thousand and eight with the

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Speaker 1: economic crash. Yeah, that went kind of across the board.

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Speaker 1: Her popularity. No. The The amazing thing is it's stronger

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Speaker 1: today than it ever was. Now. Yes, we're doing the

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Speaker 1: end of the tour or end of the run in

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Speaker 1: Las Vegas, but you know, we just began pre sales

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Speaker 1: this morning on her tour and they were massive. We

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Speaker 1: were rolling into multiple arenas in many cities this morning

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Speaker 1: just on you know, the American Express and the team

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Speaker 1: Selene pre sale. So people have always underestimated this lady.

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Speaker 1: And then how about the other acts that went in there,

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Speaker 1: like Elton? How did they do? Elton was? He was

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Speaker 1: a dream? I mean Elton was you know again, you're

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Speaker 1: looking at somebody that was only doing at that time

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Speaker 1: forty shows a year versus slid to two hundred shows

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Speaker 1: a year. So Elton was virtually sold out the entire time.

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Speaker 1: And um, and he kept with the theme of of

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Speaker 1: let's create a show. Okay, let's do something. See what's

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Speaker 1: happened today has kind of changed it, and it's kind

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Speaker 1: of to me, it's a little bit depressing because one

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Speaker 1: of my lines to artists was always, look, remember all

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Speaker 1: that stuff you wanted to do but you couldn't take

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Speaker 1: on the road. It was too big to travel with.

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Speaker 1: This is the place you can do at all. And

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Speaker 1: you know, and we wanted to make it a show

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Speaker 1: that you could only see here and the only place

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Speaker 1: you can see that artist become a bit bastardized to

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Speaker 1: a degree where people are just driving through with their

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Speaker 1: tour in shows and nothing special about it. So to

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Speaker 1: what degree is Vegas a factor in your business? Now? Wow?

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Speaker 1: I think it's become a big factor in everybody's business.

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Speaker 1: The number of artists today that want to do residencies,

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Speaker 1: let alone the ones that exist. Think about there's probably

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Speaker 1: five for everyone that has one, there's five more that

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Speaker 1: want one. You know what I mean. Everybody's looking for

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Speaker 1: quote the residency I, and it is maybe we're maybe

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Speaker 1: there's no MORATORI and maybe we just do residencies and

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Speaker 1: festivals and that's it. Well, certainly we probably have a

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Speaker 1: lot fewer drug overdoses if the fans came to see

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Speaker 1: the bands. This is true, Okay. Um, anything that hasn't

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Speaker 1: worked in Vegas, whether it be yours or competitors, it's tricky.

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Speaker 1: I've always found that the Broadway stuff, it's really tricky.

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Speaker 1: It's almost like the stuff that Clive Barnes trashes in

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Speaker 1: New York should be in Vegas and it will do great.

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Speaker 1: I remember years ago, uh, Jimmy Dean Atlanta jujor Jimmy

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Speaker 1: a good friend about it week. He took me to

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Speaker 1: Will Rogers Follies at the Palace Theater and Broadway, right,

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Speaker 1: and and the show just got panned. And I'm sitting

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Speaker 1: there going, it's a great show. I'm like all American

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Speaker 1: guy going, I love this show. You know, the fact is,

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Speaker 1: if that show had been in Las Vegas instead of

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Speaker 1: on Broadway, probably would have been a hit. So the

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Speaker 1: Mama MIA's the Jersey Boys, you know, that type of

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Speaker 1: stuff is good. I don't think people go to go

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Speaker 1: to Las Vegas. He's Phantom of the Operas, per Se

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Speaker 1: or or Cats or you know. I think it's a

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Speaker 1: little more. It's got to be more of a show

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Speaker 1: and more musical. So generally speaking, what does the promoter

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Speaker 1: do m in Las Vegas? In general, we take risks,

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Speaker 1: we put up the we put up the risk capital.

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Speaker 1: We believe that we could sell enough tickets to pay

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Speaker 1: the bills, pay the band, and there's something left over.

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Speaker 1: It's no more complicated than that. Well, you know, I

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Speaker 1: know a guy works for Black Rock and New York

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Speaker 1: big investment firm, and he said he hadn't gone to

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Speaker 1: bed without being at risk for decades. So do you

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Speaker 1: ever worry? Like you ever, you know, lie awake at nights, say,

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Speaker 1: holy funk, this better work? Oh, I mean, look, you

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Speaker 1: know what's the worst thing about getting tour is get

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Speaker 1: the tour. I mean it's like talk about buyer's remorse. Okay,

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Speaker 1: you get you know, you get into this competition, especially

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Speaker 1: today with the dumpers that are thrown out there today.

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Speaker 1: You know, it's like it's almost like monopoly. I mean,

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Speaker 1: it is like monopoly money, you know. And and yeah,

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Speaker 1: I mean one thing about Gongore and I We've always

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Speaker 1: always that's your partner, that's my partner. We've always always

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Speaker 1: we were taught at the beginning. You act like, you know,

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Speaker 1: you're you're risking your own house here your mortgage, which

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Speaker 1: by the way, we both did for a while. You know.

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Speaker 1: So once you know that feeling of what it's like

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Speaker 1: to really risk your own money and go, you know,

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Speaker 1: wait a minute, I'm gonna lose everything, and so go

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Speaker 1: ask mom and dad from my room back and get

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Speaker 1: a job at McDonald's. That's what a promoter is. Okay.

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Speaker 1: So let's assume you have something that's not an instant sellout.

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Speaker 1: How do you move the tickets? How do you make

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Speaker 1: your money back? Mm hmm, Well, it depends on what

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Speaker 1: what you're involved in. Okay, we are I like to

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Speaker 1: think that we have a long term artists perspective, okay.

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Speaker 1: And this goes back kinder to our upbringing, which was

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Speaker 1: way back to the Jerry Wine Troub concerts West Management

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Speaker 1: three Days, where you had guys like Tom Hewlett and

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Speaker 1: Terry Bassett, Jerry Wine Trout amazing mentors, but they managed

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Speaker 1: the artist and we toured the art. Yes, And so

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Speaker 1: there were times I remember John Denver tours where you know,

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Speaker 1: he had a hit record, he sell every ticket. The

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Speaker 1: house didn't have a hit record, He sold half the ticket.

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Speaker 1: And I did one tour where all I did was

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Speaker 1: go out in front and quote paper of the house. Uh,

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Speaker 1: because John never played in front of an empty house.

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Speaker 1: So I've always believed that if you make the right

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Speaker 1: decisions for the artists, for the long term of the artists,

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Speaker 1: if you do that, the money is going to follow. Okay. Now,

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Speaker 1: there's many ways to get out of it quickly, Okay,

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Speaker 1: I mean, and that's unfortunately probably of our business. A

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Speaker 1: zillion ways to get out of them. Give me a couple. Well,

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Speaker 1: the secondary market on ticketing, people have been using that

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Speaker 1: they've been you know, ticket rebates. It goes all the

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Speaker 1: way back to you know, had n caterie bill for

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Speaker 1: five hundred bucks. Okay. Uh, you know what happens with losers.

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Speaker 1: It creates a system of insights of people, you know,

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Speaker 1: making a little money here on the side, making a

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Speaker 1: little money here on the side. You know, Fred Rosen

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Speaker 1: started making a nickel right, right, So it was five

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Speaker 1: sets of ticket back then. Okay, So it's uh. The

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Speaker 1: way people now protect themselves is by other sources of

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Speaker 1: revenue that they tried to to me hide from the artist,

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Speaker 1: or hide from the business equation or you know, no,

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Speaker 1: and they've got a lot of valid arguments. I meant,

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Speaker 1: if a guy invest money in a venue, you should

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Speaker 1: be able to get his money back right and make

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Speaker 1: a profit on his real estate investment. Okay. Now, generally speaking,

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Speaker 1: on these really big tours, your competition is Live Nation.

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Speaker 1: What it does it? What do you find someone all

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Speaker 1: to an act makes their decision on in terms of

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Speaker 1: who to go with, Well, make it on basically two things, right,

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Speaker 1: who's going to do the right job and how much

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Speaker 1: they're paying me. The unfortunate thing is how much they're

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Speaker 1: paying me. It most of the time, you know, is

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Speaker 1: the deciding factor as opposed to who's going to do

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Speaker 1: the right job. Okay, let's go back to the beginning

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Speaker 1: for my audience. So you grew up where as an

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Speaker 1: army brap but kind of beaute Montana and then the Northwest, Okay,

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Speaker 1: in Washington. Okay, you know we're sitting here in Hollywood.

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Speaker 1: Those places seem like backwaters relative to hollydood God, and

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Speaker 1: they're very attractive, by the way, and it's where I'd

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Speaker 1: like to be. No, I mean they are, but but

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Speaker 1: part of that was we learned how to do everything

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Speaker 1: back then. I mean I was running by high school

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Speaker 1: dance committee. Oh really, So you got into it that, Yeah, yeah,

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Speaker 1: I did. I put my first concert on my junior

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Speaker 1: year in high school don Zaga Prep and spokead and

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Speaker 1: I saw this magazine in Father Gobel he was the

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Speaker 1: head of our He watched over our dance committee and

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Speaker 1: we did all city mixers in Spokane. And I'm in

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Speaker 1: Gobs office one day, that's what we called him. And

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Speaker 1: he had this magazine and they're called Performance Magazine. And

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Speaker 1: I start flipping through it and I go, hey, Gobs,

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Speaker 1: this has all the big bands and look it says

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Speaker 1: where they're going, and it's got a phone number there,

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Speaker 1: it says b A. And he said that means booking

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Speaker 1: age and John and I went, well, I had this band.

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Speaker 1: I just got their first record, you know. And the

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Speaker 1: look they're up there playing in Seattle. Let's call the number.

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Speaker 1: What was the Okay? Sold out two shows of the

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Speaker 1: high school Jim Days and we made fifteen hundred bucks. Okay,

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Speaker 1: But let's go back to the begetting. Did you call

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Speaker 1: the agent? Yes, and you said what happened? I? I

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Speaker 1: mean I just I called him and I said, hi, uh,

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Speaker 1: I run a dance committee at a high school. It's okay,

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Speaker 1: And and I see your band is in Seattle and

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Speaker 1: you know what are they doing on Saturday night? And

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Speaker 1: he took you seriously? Yeah, well I had I told

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Speaker 1: him that father Gobel was with me, so I had

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Speaker 1: my priest with me. It was pretty good, okay. And

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Speaker 1: do you think you got ripped off? No, it was

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Speaker 1: actually we paid them. We made money, So it wasn't

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Speaker 1: about that. Back then. Remember it was all flats. You know,

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Speaker 1: they showed up. You had to have you know, a

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Speaker 1: p A system and some lights and uh you know,

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Speaker 1: you had addressing room. And it wasn't even before riders,

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Speaker 1: you know. So it was fun that when I went

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Speaker 1: to college. Did you do any more shows in high school? Uh?

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Speaker 1: Because after that I went off down to Washington State,

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Speaker 1: um and uh and they know they had more of

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Speaker 1: the college concert committees there all right. And in the

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Speaker 1: mid seventies there was a lot of guys, a lot

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Speaker 1: of guys that are around today came from that program.

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Speaker 1: But um, they didn't have a coffeehouse things. So I

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Speaker 1: started one. I started a radio station, I started a festival.

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Speaker 1: I mean that's what. That's a lot of stuff. Yeah,

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Speaker 1: that kazoo is now the number one station of Pullman, Washington.

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Speaker 1: And my roommate and I started that thing. It was

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Speaker 1: what do you call it? Ten want class D Remember

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Speaker 1: those I remember you could hear like three miles away. Yeah, exactly,

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Speaker 1: not even that you know, but um, the they have

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Speaker 1: when where I went to college, but it was there

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Speaker 1: before I got out there. So you're basically an entrepreneurial guy,

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Speaker 1: you know at Hart of course that's what this is about. Okay,

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Speaker 1: how many kids in your family? Five? And what do

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Speaker 1: the other four do? Uh? Well, they're all girls too old,

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Speaker 1: too older and too younger ones of c p A.

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Speaker 1: There are three of them are married to guys from Montana.

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Speaker 1: So that's the good thing is we've got we've kept

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Speaker 1: the Montana thing alive. But they're they're all over the country,

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Speaker 1: and uh, they're all doing great. I mean they have

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Speaker 1: the same personality as you. Like. You know, I'm gonna

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Speaker 1: make it work for myself. Um, i'd say half at half.

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Speaker 1: There's two sisters that are definitely that way. They're there

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Speaker 1: two that well, there's one that's completely happy living in Dila, Montana,

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Speaker 1: never wants to leave. That is where. It's about sixty

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Speaker 1: miles south of Butte. And what's there, um nothing Uh, Canyon,

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Speaker 1: Ferry Reservoir, people river, the Big Hole River, Um, the

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Speaker 1: salmon fly hatch if you're fly fishermen, those are all

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Speaker 1: important things. So do you How long do you go

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Speaker 1: to Washington State? I went three years? Yeah, I quit

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Speaker 1: in my senior year. And why did you quit? I

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Speaker 1: got hired by Concerts West, I thought I did. Okay,

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Speaker 1: we'll tell that story. Well, Um, there was a guy that,

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Speaker 1: believe it or not, worked for Irving Dennis something anyway,

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Speaker 1: artists touring so something I forget what it was called,

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Speaker 1: but it was one of Irving's agencies and Irving off

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Speaker 1: of course and Irving at the time, Uh, managed Tim Wiseberg,

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Speaker 1: remember the of course and the duel and that. Yeah, okay,

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Speaker 1: So what year were in nineteen seventy seven? All right?

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Speaker 1: So I was the block booking coordinator in the Northwest

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Speaker 1: for the college campuses, and Tim Wiseberg just really caught

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Speaker 1: on up there, and in fact I was doing to

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Speaker 1: cut down and read it with Tim Weinsberg. So in

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Speaker 1: five six thousand seats in Poland Washington, Tim Weinsberg still alive. Yeah,

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Speaker 1: he's a great guy. I haven't thought of him so long. Yeah,

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Speaker 1: you know, he's really good. Was it Dan Fogelbergelberg Wisberg?

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Speaker 1: Different mothers, twin SuDS, different mothers or something like that?

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Speaker 1: That was another There was a part of the plan

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Speaker 1: with what was no the Great Song? Yeah, I think

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Speaker 1: it was part of the plan. Uh yeah, it was. Okay,

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Speaker 1: So you're booking a book at Tim Weisberg and this

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Speaker 1: guy Deists were just a little bit slower. You're where

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Speaker 1: You're still at Washington State. Yeah, and you're booking for

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Speaker 1: other places too. Yeah. How did that? Well? I got

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Speaker 1: an office in the student union building and my roommate

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Speaker 1: and I out, I guess I gotta back up a

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Speaker 1: little bit. We first figured out that all these dorms

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Speaker 1: and fraternities and sororities all had to book two or

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Speaker 1: three bands a year for their little you know, uh

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Speaker 1: proms or whatever they call them, their their little balls, right,

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Speaker 1: So we started a little thing called the Student Booking Service.

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Speaker 1: And what we did is we got one agent up

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Speaker 1: and spoke in Washington, and we gave him an exclusive

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Speaker 1: and we signed up all the dorms and the fraternities

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Speaker 1: and sororities, and so the agents would all split their

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Speaker 1: commissions with us, and we would book and we because

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Speaker 1: we would tell the every year as a new social

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Speaker 1: director fraternity and we're like, hey, guys, we don't want

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Speaker 1: you to get ripped off. We know what the band's cost.

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Speaker 1: We'll get you good deals and all of that. So,

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Speaker 1: you know, fast forward to their we started, you know,

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Speaker 1: block booking, and we called it so I'd get the

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Speaker 1: guy in Bellingham, Washington to buy a show. Guy it

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Speaker 1: you know huge its sound to buy a show, and

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Speaker 1: the guy at Idaho State to buy a show, and

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Speaker 1: the guy in Missoula to buy a show that was

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Speaker 1: clip Mitchell, by the way, the way you were He

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Speaker 1: was the guy in Mizzoula, and uh yeah, we just

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Speaker 1: put all these together and then this guy called one day,

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Speaker 1: this agent he worked for Irving. I remember that. He said,

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Speaker 1: you know, you need to work for Concerts West. And

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Speaker 1: Concerts West brought all their shows into Pullman because we

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Speaker 1: had a pack eight thousand seat arena, and up in

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Speaker 1: Seattle they had a seven thousand seat civic auditorium. So

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Speaker 1: the big shows would come down and play Pullland and

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Speaker 1: they had to go through the students. How far as

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Speaker 1: Pullman from Seattle sixty miles south? Not from Seattle, Seattle

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Speaker 1: three miles. It's on the Idaho's close to boise O.

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Speaker 1: It's close to Spokane. Uh, court a Lane. You know,

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Speaker 1: if you go down from Spoke candad cord a Lane

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Speaker 1: sixty miles you have Pullman in Moscow wide. Okay, yeah,

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Speaker 1: at Washington State University and the university about it? Okay,

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Speaker 1: where were we a lost tracks? Okay, so you're block booking,

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Speaker 1: you get tracked on by this guy says you should

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Speaker 1: work at Conscience West. Yeah, so I got an interview.

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Speaker 1: Uh and in fact, this is the first time I'd

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Speaker 1: ever been on an airplane, and I go up to

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Speaker 1: Spokene and a guy said, and me, remember when you

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Speaker 1: got a prepaid ticket? Yeah? Right. I sat all day

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Speaker 1: long and Spokene Little Airport waiting for my prepaid ticket

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Speaker 1: to go through. Okay, I'm a kid in college, right,

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Speaker 1: and I'm thinking, and my buddy's gonna pick me up

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Speaker 1: and when I get there and drive me to this interview.

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Speaker 1: And I go and have an interview with this guy

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Speaker 1: named Tom Hewlett. And this is weird. Is in Seattle.

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Speaker 1: So I flew over to Seattle, right and uh Cascade Airline, yeah,

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Speaker 1: with this Cascade alleghany almost and it was like I

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Speaker 1: go over there and I get I had this interview.

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Speaker 1: I remember I wore I think I looked like the

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Speaker 1: guy at Midnight Cowboy because I had on like a

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Speaker 1: you know, like a tan like almost crest velvet pants

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Speaker 1: vest right actually vest jacket, uh boots and and you

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Speaker 1: know the collar out right. And I meet this guy

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Speaker 1: Tom Hellett, and he's like, oh, yeah, I got all

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Speaker 1: these tours going on, and I got this air Clapton tour.

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Speaker 1: I I think I could use you on that, right,

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Speaker 1: That's what he says. So I leave, I go back

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Speaker 1: to school. I quit college I load everything in my

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Speaker 1: car and I drive out to Seattle and uh move

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Speaker 1: in and uh living on the floor by I had

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Speaker 1: four buddies. They had a two bed of apartment, so

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Speaker 1: I was a fifth guy. So I slept on the

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Speaker 1: floor out in the you know, the couch around the

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Speaker 1: living room. I've done that, yeah, I mean that's how

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Speaker 1: it's art. And I would go every day and show

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Speaker 1: up at this office. Right, So Conscience West had an office. Yeah,

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Speaker 1: it was in Bellevue, Washington, and you had Paul Gonda. Weare, um,

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Speaker 1: Tom Hewlett, Bassett, Terry Bassett. I mean it's a really

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Speaker 1: great Dan Fiala, um uh, Bill Leopold, I mean some

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00:26:26,000 --> 00:26:29,439
Speaker 1: great names. We're all out of that office. They were

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Speaker 1: all out of the Bellevue office, all those guys. And

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Speaker 1: then Terry went down and started the Dallas office. Sims

408
00:26:39,400 --> 00:26:42,480
Speaker 1: Scott hired, he went out, he started the Atlanta office.

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Speaker 1: And but no, I started showing up. But I didn't

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Speaker 1: have a job. I mean I would sit there and

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Speaker 1: I could tell Hewlett after a few days to be

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Speaker 1: walking in and whisper to people, go who is that kid? Right?

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Speaker 1: And I just kept doing things and walking around and

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Speaker 1: asking people if they anything to do until I got

415
00:27:01,560 --> 00:27:06,200
Speaker 1: like became whatever I was there, and I finally after

416
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Speaker 1: about two three weeks, got the courage to walk into

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00:27:09,320 --> 00:27:13,280
Speaker 1: Bill mackenzie asked if I could get paid? And what

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00:27:13,359 --> 00:27:15,720
Speaker 1: are he's saying? He said, yeah, no, he was good

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00:27:15,800 --> 00:27:19,520
Speaker 1: by that, and I started two a week. That's what

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00:27:19,640 --> 00:27:23,040
Speaker 1: it was, um. And when you're on the road, you

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00:27:23,160 --> 00:27:29,320
Speaker 1: had twenty dollars a pretty and you Concerts West had

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Speaker 1: a cool thing back then called show pay and it

423
00:27:31,960 --> 00:27:35,480
Speaker 1: was like a sixty bucks show if you're on the road,

424
00:27:36,440 --> 00:27:39,680
Speaker 1: but it was like the tour director's decision how to

425
00:27:39,760 --> 00:27:43,280
Speaker 1: split the sixty bucks. So if you're like the guy

426
00:27:43,359 --> 00:27:45,720
Speaker 1: out with Gong, were like one of the ones I

427
00:27:45,840 --> 00:27:50,040
Speaker 1: started with second right, you know, he'd split it with you,

428
00:27:52,920 --> 00:27:54,880
Speaker 1: no offense, Sims. But if you're out with Sims, you've

429
00:27:54,880 --> 00:28:01,560
Speaker 1: got ten dollars, you know. And so what happened is

430
00:28:01,640 --> 00:28:06,320
Speaker 1: you generated a brotherhood with these guys. But what was

431
00:28:06,400 --> 00:28:09,960
Speaker 1: so cool about Concerts West is we were never really

432
00:28:10,119 --> 00:28:16,320
Speaker 1: local promoters. You know, we didn't do We weren't in

433
00:28:16,440 --> 00:28:21,240
Speaker 1: that club theater business, and every local promoter was. We

434
00:28:21,400 --> 00:28:28,760
Speaker 1: were like a arena up touring company, you know, and

435
00:28:28,880 --> 00:28:30,520
Speaker 1: it was just so cool to be back there and

436
00:28:30,720 --> 00:28:33,639
Speaker 1: see that at that time. Now, that was all Jerry Weintraub, right,

437
00:28:33,720 --> 00:28:37,960
Speaker 1: was Wintroub. It was Bassett, It was Irving and his

438
00:28:38,120 --> 00:28:44,560
Speaker 1: relationship with Bassett. It was Bill McKenzie and and the

439
00:28:44,640 --> 00:28:48,840
Speaker 1: relationships were deep, you know, they were Like the first

440
00:28:48,880 --> 00:28:51,280
Speaker 1: thing I worked on was Swan Song. That's what I

441
00:28:51,400 --> 00:28:54,960
Speaker 1: was assigned to. So and that was Peter Grant and

442
00:28:55,040 --> 00:28:59,120
Speaker 1: Clive Coulson and so you worked on Bad Company, but

443
00:28:59,240 --> 00:29:02,280
Speaker 1: if David went out, you had to work on David still.

444
00:29:03,200 --> 00:29:06,800
Speaker 1: And like Paul and I were, we were putting the

445
00:29:06,880 --> 00:29:11,200
Speaker 1: Zeppelin tour on sale when Bottom died. After that, I

446
00:29:11,320 --> 00:29:13,840
Speaker 1: had to do the firm, which was you know, Jimmy

447
00:29:13,920 --> 00:29:18,160
Speaker 1: and Paul Rogers. But I never got to do led Zeppelin. Okay,

448
00:29:18,400 --> 00:29:20,080
Speaker 1: how much of the time are you in the office

449
00:29:20,120 --> 00:29:21,480
Speaker 1: and how much of the time are you on the road.

450
00:29:22,920 --> 00:29:26,600
Speaker 1: Back then you were on the road. I don't know,

451
00:29:27,160 --> 00:29:31,160
Speaker 1: nine months sometimes, I mean you could be on the

452
00:29:31,280 --> 00:29:34,880
Speaker 1: road for fourteenth straight months. We'll break for Christmas or

453
00:29:34,960 --> 00:29:38,000
Speaker 1: something in that. And back then we did five shows

454
00:29:38,040 --> 00:29:41,360
Speaker 1: a weeks. It shows a week traveled and the bus

455
00:29:41,480 --> 00:29:48,160
Speaker 1: has slept sixteen guys today they sleep six at all different.

456
00:29:48,200 --> 00:29:50,760
Speaker 1: It was different time. And were you ever making any

457
00:29:50,840 --> 00:29:53,880
Speaker 1: money or just in for the experience at that point? Oh? No,

458
00:29:54,080 --> 00:29:57,640
Speaker 1: you're for the experience. I mean, look, the first tour,

459
00:29:57,920 --> 00:30:02,040
Speaker 1: first big tour idea was with Gaga were the nineteen

460
00:30:02,760 --> 00:30:10,000
Speaker 1: seventy eight Bad Company Desolation Angels, and that was multiple arenas.

461
00:30:10,120 --> 00:30:12,320
Speaker 1: It was fact then as big as you got in

462
00:30:12,400 --> 00:30:14,680
Speaker 1: the rock and roll. And I remember I'd ever been

463
00:30:14,720 --> 00:30:20,000
Speaker 1: in Las Vegas, played the Aladdin in Las Vegas, and

464
00:30:20,360 --> 00:30:22,480
Speaker 1: one night I lost everything I made on the tour.

465
00:30:24,160 --> 00:30:28,240
Speaker 1: And are you still a gambler? No? No, I just

466
00:30:28,440 --> 00:30:32,080
Speaker 1: like it was. You know, it was just stupid, you know,

467
00:30:32,200 --> 00:30:35,840
Speaker 1: but but you didn't care. I mean it may sounds

468
00:30:35,880 --> 00:30:38,560
Speaker 1: really weird. This is again all give part of this

469
00:30:38,680 --> 00:30:42,560
Speaker 1: as a Gaga wear line. Okay, we don't think about

470
00:30:42,560 --> 00:30:46,120
Speaker 1: the money, we really don't. We think about what's the

471
00:30:46,320 --> 00:30:49,840
Speaker 1: right thing to do, and if you do the right things,

472
00:30:49,920 --> 00:30:52,720
Speaker 1: the money will follow if you start and this is

473
00:30:52,760 --> 00:30:55,960
Speaker 1: where God, if you start thinking about the money, you're

474
00:30:55,960 --> 00:31:00,840
Speaker 1: going to compromise the decision making. So maybe that's why,

475
00:31:02,240 --> 00:31:03,720
Speaker 1: you know, we just kind of live in our own

476
00:31:03,800 --> 00:31:07,760
Speaker 1: world the way Paul and I do but it's pretty

477
00:31:07,840 --> 00:31:12,120
Speaker 1: simple to us. No, that's a cool project. Here's how

478
00:31:12,200 --> 00:31:14,200
Speaker 1: you could do it, here's how you could make it work,

479
00:31:15,040 --> 00:31:17,680
Speaker 1: and let's go do it or not do it. Okay,

480
00:31:17,760 --> 00:31:21,959
Speaker 1: So you work for Concerts West for how long thirteen years?

481
00:31:22,080 --> 00:31:25,440
Speaker 1: It was? There were variations. It was called you know,

482
00:31:25,520 --> 00:31:28,200
Speaker 1: it ended up being called Wine Traub Entertainment Group. But

483
00:31:28,480 --> 00:31:33,640
Speaker 1: really from seventy eight to nine I was at concerts

484
00:31:34,400 --> 00:31:37,560
Speaker 1: and then what happened. Then Michael Cole hired me to

485
00:31:37,720 --> 00:31:41,440
Speaker 1: go up and I was the director of touring for CPI.

486
00:31:42,120 --> 00:31:45,920
Speaker 1: This was right after right at the end of the

487
00:31:46,120 --> 00:31:49,600
Speaker 1: steel wheel wheel right, and so I went up there

488
00:31:50,240 --> 00:31:52,600
Speaker 1: and they kind of figured, I mean Michael told me

489
00:31:52,640 --> 00:31:55,320
Speaker 1: and Arthur told me. They just said, look, you know,

490
00:31:55,680 --> 00:31:57,880
Speaker 1: we're going to be at the story business. We figured

491
00:31:57,960 --> 00:32:01,920
Speaker 1: we needed to hire a Concerts West guy because they do.

492
00:32:02,200 --> 00:32:05,680
Speaker 1: They knew we We've grown up in that, in that environment.

493
00:32:05,880 --> 00:32:10,080
Speaker 1: So I started there. My first day was July one.

494
00:32:11,560 --> 00:32:14,160
Speaker 1: It was very funny though. I had this marketing kid

495
00:32:14,280 --> 00:32:16,440
Speaker 1: named Jeff Shabon that was going to be working for me,

496
00:32:16,480 --> 00:32:18,960
Speaker 1: and I knew him from before I think it worked

497
00:32:18,960 --> 00:32:22,880
Speaker 1: for John Stall. And they put me in like one

498
00:32:22,880 --> 00:32:26,280
Speaker 1: of those old court apartments and he and his little

499
00:32:26,360 --> 00:32:31,680
Speaker 1: marketing buddy from Lobats comes over to pick me up,

500
00:32:32,360 --> 00:32:36,960
Speaker 1: a little marketing buddy, little marketing buddy, Michael Repeat, and

501
00:32:37,080 --> 00:32:39,480
Speaker 1: they take me out on a boat on Lake Washington

502
00:32:39,480 --> 00:32:47,000
Speaker 1: Head where there's this DJ who Joey Scolari was. Yeah,

503
00:32:47,160 --> 00:32:52,120
Speaker 1: it was like you know, and by the way, what

504
00:32:52,360 --> 00:32:55,960
Speaker 1: a great time. I mean I loved every minute up

505
00:32:56,000 --> 00:33:00,640
Speaker 1: there and probably would have stayed if they you know,

506
00:33:00,760 --> 00:33:04,480
Speaker 1: I hadn't moved down to Hamas or Perview to wherever.

507
00:33:06,200 --> 00:33:09,200
Speaker 1: I mean, that was really the factor for me. So

508
00:33:09,280 --> 00:33:13,800
Speaker 1: how many years were you there? Almost seven? Okay, six

509
00:33:13,920 --> 00:33:18,760
Speaker 1: seven seven? And what was your responsibility there? Well, I

510
00:33:19,080 --> 00:33:26,440
Speaker 1: was kind of I was the operations director of those

511
00:33:26,520 --> 00:33:29,239
Speaker 1: tours citizens you know, we routed those tours. I did

512
00:33:29,280 --> 00:33:32,040
Speaker 1: all the building, deal did all the tickety tickety was

513
00:33:32,200 --> 00:33:35,959
Speaker 1: very different then than it is today with hard tickets.

514
00:33:36,000 --> 00:33:43,640
Speaker 1: Back then, um so really routed, did the deals and

515
00:33:43,960 --> 00:33:46,400
Speaker 1: of course the they did the stones. Who else were

516
00:33:46,440 --> 00:33:48,760
Speaker 1: you doing it that we were doing? We did Pink

517
00:33:48,800 --> 00:33:54,640
Speaker 1: Floyd's last tour, Vision Bell did Paul Simon. It was

518
00:33:54,880 --> 00:33:57,200
Speaker 1: that was a great tour. What of the greatest bands,

519
00:33:57,240 --> 00:34:00,640
Speaker 1: diversity of My Life. Uh, Stones of or Its Foodoo

520
00:34:00,720 --> 00:34:07,320
Speaker 1: Lounge Urban Jungle Tours. Uh. David Bowie Uh did Bowie

521
00:34:08,239 --> 00:34:10,759
Speaker 1: Bowie Nail's Tour. That was an experience. That was a

522
00:34:10,840 --> 00:34:15,239
Speaker 1: tough tour. Bowie Morrissey with Morrissey walked off the tour

523
00:34:15,400 --> 00:34:20,320
Speaker 1: halfway through it. Uh, and they were look and it

524
00:34:20,480 --> 00:34:23,040
Speaker 1: was right at the beginning of the YouTube relationship. But

525
00:34:23,120 --> 00:34:28,000
Speaker 1: I left a very very beginning. Uh. Well, they sold

526
00:34:28,080 --> 00:34:31,280
Speaker 1: the company and they went to Bahamas for tax reasons.

527
00:34:31,320 --> 00:34:37,600
Speaker 1: What happened to you? I got married someone you met Toronto? No, no, somebody? Well,

528
00:34:37,640 --> 00:34:39,920
Speaker 1: actually I met her while I lived in Toronto, but

529
00:34:40,040 --> 00:34:44,520
Speaker 1: she was a Uh. She was directed a show for

530
00:34:44,800 --> 00:34:49,360
Speaker 1: Disney that we were touring, and it was called Disney

531
00:34:49,440 --> 00:34:53,600
Speaker 1: Symphonic Fantasy. Uh. One of the mean an amazing show.

532
00:34:54,440 --> 00:34:57,680
Speaker 1: But we were allowed to play arenas because of the

533
00:34:57,800 --> 00:35:03,600
Speaker 1: Felt contract. Really yeah, the Feld contract prohibited Disney from

534
00:35:03,680 --> 00:35:09,439
Speaker 1: producing a competitive touring attraction, right whatever. So we tried

535
00:35:09,520 --> 00:35:11,560
Speaker 1: to see if we can put this in amphitheaters and

536
00:35:11,640 --> 00:35:14,719
Speaker 1: that big mistake and the reason we actually did it,

537
00:35:14,760 --> 00:35:18,759
Speaker 1: I remember because you know, Michael was doing a lot

538
00:35:18,880 --> 00:35:24,359
Speaker 1: of you know, bus and truck Broadway stuff. Very very

539
00:35:24,440 --> 00:35:28,520
Speaker 1: successful up through Canada and even into the States do

540
00:35:28,880 --> 00:35:31,600
Speaker 1: cats and all that kind of stuff. So we wanted

541
00:35:31,640 --> 00:35:34,040
Speaker 1: to get the bus and truck rights for you know,

542
00:35:34,320 --> 00:35:38,560
Speaker 1: Beauty and the Beast. That was the first Disney Broadway

543
00:35:38,640 --> 00:35:43,319
Speaker 1: thing they were doing, and Disney was kind of inferring that, well,

544
00:35:43,360 --> 00:35:45,480
Speaker 1: if you do this tour for us, said you'll be

545
00:35:46,200 --> 00:35:49,400
Speaker 1: in line to do the bus and truck. Of course,

546
00:35:49,560 --> 00:35:52,600
Speaker 1: we did the tour, lost money, and they decided to

547
00:35:52,719 --> 00:35:55,840
Speaker 1: do the bus and truck in house. But I got

548
00:35:55,920 --> 00:35:58,399
Speaker 1: a wife out of it. Uh. We lost a million

549
00:35:58,440 --> 00:36:03,439
Speaker 1: dollars on the tour, so worth it, but it wasn't

550
00:36:03,480 --> 00:36:07,600
Speaker 1: your million a Yeah, okay, so they move away. You're

551
00:36:07,600 --> 00:36:11,360
Speaker 1: now getting married. What's your next step? Well, while I

552
00:36:11,640 --> 00:36:14,800
Speaker 1: was over in um that was the only this is

553
00:36:14,840 --> 00:36:18,040
Speaker 1: the only time you've been married. Yeah, twenty five years

554
00:36:18,120 --> 00:36:21,759
Speaker 1: coming up this September. Pretty rare in this absolutely, I know,

555
00:36:22,160 --> 00:36:25,520
Speaker 1: it's pretty pretty amazing. Well we got married later, so

556
00:36:26,440 --> 00:36:29,120
Speaker 1: and on the road, everybody got their old fantasy exactly

557
00:36:29,320 --> 00:36:35,759
Speaker 1: exactly thought about him. Um. So, Brian Becker started calling

558
00:36:35,800 --> 00:36:40,120
Speaker 1: me while I was over in London with Bowie and

559
00:36:40,400 --> 00:36:43,120
Speaker 1: he started going, hey, we want to get into touring business.

560
00:36:43,400 --> 00:36:45,759
Speaker 1: Wherever you want to live, if you want to live

561
00:36:45,800 --> 00:36:49,480
Speaker 1: in This is when he's running Live Nation is when

562
00:36:49,520 --> 00:36:53,320
Speaker 1: you know, this is when he's running Pace Pace concerts.

563
00:36:53,760 --> 00:36:56,200
Speaker 1: And then you know, he said, come on and we'll

564
00:36:56,239 --> 00:37:01,400
Speaker 1: start this touring group. You and Louis are tight, so

565
00:37:02,040 --> 00:37:07,399
Speaker 1: we came. I agreed to go work with them. Uh God,

566
00:37:07,480 --> 00:37:13,040
Speaker 1: Ironically at or it just happened. Shelley Dyan is like,

567
00:37:13,480 --> 00:37:22,160
Speaker 1: oh God, there's nothing. I just love that. I meant

568
00:37:22,680 --> 00:37:27,440
Speaker 1: anyway right it at the last minute, Shelly calls me

569
00:37:28,520 --> 00:37:30,799
Speaker 1: and gets my wife and I had to fly down

570
00:37:30,840 --> 00:37:34,040
Speaker 1: in San Francisco because they're like, why did you come

571
00:37:34,080 --> 00:37:38,080
Speaker 1: and start GPS story. Now, ironically both of them got

572
00:37:38,120 --> 00:37:40,719
Speaker 1: bought by the same time, so I guess it would

573
00:37:40,800 --> 00:37:44,319
Speaker 1: ended up the same place. But um yeah. They flew

574
00:37:44,400 --> 00:37:45,880
Speaker 1: us and wine and dined us and all of that

575
00:37:46,000 --> 00:37:49,080
Speaker 1: down at San Francisco, and very funny. The last night there,

576
00:37:49,160 --> 00:37:51,400
Speaker 1: my wife got we were staying at the CASTLEMA drone

577
00:37:51,440 --> 00:37:54,560
Speaker 1: out in Sasolito. Last night. We're gonna fly back to

578
00:37:54,640 --> 00:37:58,800
Speaker 1: Toronto and go across streets some Italian seafood place. My

579
00:37:58,920 --> 00:38:02,680
Speaker 1: wife has seafood us and by two o'clock in the morning.

580
00:38:02,800 --> 00:38:06,080
Speaker 1: We're in Barren County General the worst food poison. I'd

581
00:38:06,080 --> 00:38:08,880
Speaker 1: see him my life. It was terrible. But that's not

582
00:38:09,000 --> 00:38:13,040
Speaker 1: why I picked Pace over GP. But uh so, anyway,

583
00:38:13,239 --> 00:38:15,720
Speaker 1: I ended up doing the Pace Storian thing and Louis

584
00:38:16,040 --> 00:38:19,719
Speaker 1: and I kind of got together on that and we started.

585
00:38:20,120 --> 00:38:24,840
Speaker 1: I remember we started oz Fest, then we did the

586
00:38:25,000 --> 00:38:29,200
Speaker 1: first Fleetwood mac Reunion tour, and Louis started this sig

587
00:38:29,280 --> 00:38:34,439
Speaker 1: called the George Straight Country Music Festival. And honestly, that's

588
00:38:34,600 --> 00:38:37,799
Speaker 1: that's what kicked it off for him. That's what really

589
00:38:37,880 --> 00:38:41,560
Speaker 1: got him to be in country. Louis. You know, good

590
00:38:41,640 --> 00:38:44,560
Speaker 1: for that. We all knew Louis the rock promote Texas

591
00:38:44,719 --> 00:38:49,840
Speaker 1: right and um, and we're I mean, Louis and I

592
00:38:50,040 --> 00:38:53,800
Speaker 1: were having a great time because you know, I was like,

593
00:38:54,280 --> 00:38:58,320
Speaker 1: I'm more the business structure operator kind of guy, and

594
00:38:59,000 --> 00:39:01,680
Speaker 1: I mean he is greatest salesman over see it. He

595
00:39:01,760 --> 00:39:04,280
Speaker 1: really is. I mean he's like, you can't beat Louis

596
00:39:05,040 --> 00:39:07,879
Speaker 1: and the two of us would go in a room.

597
00:39:07,960 --> 00:39:10,480
Speaker 1: I mean, I didn't think we could get beat. I

598
00:39:10,600 --> 00:39:13,920
Speaker 1: really didn't. But then the sellarman thing comes along at

599
00:39:14,120 --> 00:39:18,280
Speaker 1: s f X buy his Pace and Pace story wasn't

600
00:39:18,320 --> 00:39:24,320
Speaker 1: even two years old. And to be honestly, with the Bubber,

601
00:39:25,600 --> 00:39:31,959
Speaker 1: I really hated seeing that happened, you know, And maybe

602
00:39:32,080 --> 00:39:35,000
Speaker 1: that's maybe I had it like in my head ahead

603
00:39:35,000 --> 00:39:36,279
Speaker 1: of time that I was going to get out of

604
00:39:36,320 --> 00:39:39,960
Speaker 1: there anyway because of the consolidation and all of that,

605
00:39:40,239 --> 00:39:43,799
Speaker 1: and I just hate that. And but I didn't. I didn't,

606
00:39:43,960 --> 00:39:46,160
Speaker 1: you know, I didn't get along with the guy that

607
00:39:46,400 --> 00:39:49,200
Speaker 1: question about that. I mean that was everybody knew that,

608
00:39:50,320 --> 00:39:54,480
Speaker 1: and that's what I knew, you know, I got to

609
00:39:54,520 --> 00:40:00,520
Speaker 1: get out of here now, and well everybody was running

610
00:40:00,560 --> 00:40:05,520
Speaker 1: into this place. It's really weird because, yeah, I'm going, okay,

611
00:40:05,520 --> 00:40:10,040
Speaker 1: I'm gonna quitting my job. My wife and I are

612
00:40:10,080 --> 00:40:15,520
Speaker 1: adopting a baby from Romania, and I'm buying a house.

613
00:40:17,200 --> 00:40:22,560
Speaker 1: I've been living at Gaga Ware's house, right and all

614
00:40:22,640 --> 00:40:25,960
Speaker 1: of this at the same time, You're making all these

615
00:40:26,000 --> 00:40:29,520
Speaker 1: commitments with no incoming nothing. Yeah, it was all I

616
00:40:29,640 --> 00:40:32,440
Speaker 1: used to call it outcome. Then we're looking for income

617
00:40:32,560 --> 00:40:37,000
Speaker 1: right now, it's all going out. Um. But you know,

618
00:40:37,160 --> 00:40:40,000
Speaker 1: thank God for Paul, you know, like my like my

619
00:40:40,120 --> 00:40:43,839
Speaker 1: big brother, and you know, he came to me and said,

620
00:40:44,000 --> 00:40:48,200
Speaker 1: come on, let's go be the other guys. No, uh,

621
00:40:48,600 --> 00:40:51,160
Speaker 1: they're just we could just go out. We thought of it.

622
00:40:51,280 --> 00:40:52,839
Speaker 1: We'll just go out there and maybe we'd be able

623
00:40:52,880 --> 00:40:55,719
Speaker 1: to get one or two tours, you know, just say, look,

624
00:40:55,760 --> 00:41:01,520
Speaker 1: we're the personal you know, the quality over quantity, hands

625
00:41:01,600 --> 00:41:07,440
Speaker 1: on all the time, dona dada ah. The way we

626
00:41:07,560 --> 00:41:10,680
Speaker 1: do Tori, it has never changed. We're doing Tori today

627
00:41:10,760 --> 00:41:12,600
Speaker 1: the way we did it back to the concerts West,

628
00:41:14,160 --> 00:41:18,040
Speaker 1: which is everything goes to the pool. It was a

629
00:41:18,120 --> 00:41:22,239
Speaker 1: real easy line back there, which was I'd rather make

630
00:41:22,320 --> 00:41:27,200
Speaker 1: my back then it was I'd rather make my of

631
00:41:27,280 --> 00:41:30,359
Speaker 1: it a hundred times and steal all of it once.

632
00:41:31,360 --> 00:41:33,359
Speaker 1: And that was always our thing, so we always put

633
00:41:33,400 --> 00:41:35,880
Speaker 1: everything out on the table with the artists. It was

634
00:41:35,960 --> 00:41:39,320
Speaker 1: always about the right decisions for them. So Paul and

635
00:41:39,440 --> 00:41:43,800
Speaker 1: I thought, well, there was that's missing, you know, and

636
00:41:44,360 --> 00:41:47,879
Speaker 1: we should be able to go out. And I think

637
00:41:47,920 --> 00:41:55,120
Speaker 1: it more personally wanted to do that because of our lifestyles.

638
00:41:56,040 --> 00:42:00,120
Speaker 1: That makes sense. It's like, I mean, didn't we get

639
00:42:00,200 --> 00:42:02,960
Speaker 1: into the music business because we didn't want to wear

640
00:42:03,000 --> 00:42:06,320
Speaker 1: a suit, I didn't want to cut our hair, I

641
00:42:06,360 --> 00:42:11,759
Speaker 1: didn't want to work five. I mean, now, why is

642
00:42:11,800 --> 00:42:16,040
Speaker 1: everybody pushing for that. Why is that, like you couldn't

643
00:42:16,040 --> 00:42:19,080
Speaker 1: agree more even if this late date, I know it's

644
00:42:19,200 --> 00:42:23,360
Speaker 1: and it's there. I mean, you know, but it's like so,

645
00:42:23,800 --> 00:42:29,560
Speaker 1: but that's really what's see two be That's what's cool

646
00:42:29,600 --> 00:42:34,160
Speaker 1: about it is that as things consolidate, it also means

647
00:42:34,320 --> 00:42:38,200
Speaker 1: things will fracture. And I'm always a guy. I've always

648
00:42:38,239 --> 00:42:41,279
Speaker 1: be one of the fractures. I think, whatever, but and

649
00:42:41,440 --> 00:42:46,320
Speaker 1: I think it's because one guy. But we're dealing with art, Okay,

650
00:42:46,680 --> 00:42:49,160
Speaker 1: our job. What does the promoter do? We marry art

651
00:42:49,400 --> 00:42:53,160
Speaker 1: with commerce in the live business, that's it. I don't records.

652
00:42:53,960 --> 00:42:56,600
Speaker 1: We just do live. We sell tickets, and we know

653
00:42:56,719 --> 00:42:59,520
Speaker 1: how to do that right and how to control your

654
00:42:59,560 --> 00:43:02,360
Speaker 1: expense is and how to do it your way. Okay,

655
00:43:03,520 --> 00:43:07,000
Speaker 1: but I'm not getting off topic here. You know how

656
00:43:07,080 --> 00:43:10,840
Speaker 1: you're talking about Pace Consulting, SFX and how you decide

657
00:43:10,840 --> 00:43:14,440
Speaker 1: to go independent with Gongaware. It was we just felt

658
00:43:14,480 --> 00:43:18,680
Speaker 1: like something was missing, okay, and we felt like what

659
00:43:18,920 --> 00:43:23,080
Speaker 1: was bussy was really exactly what what we do, which is,

660
00:43:24,520 --> 00:43:27,320
Speaker 1: you know, does anybody care about the artists in this

661
00:43:27,520 --> 00:43:30,600
Speaker 1: equation in the life side. And I'm not trying to

662
00:43:30,680 --> 00:43:33,200
Speaker 1: be idealistic or anything. Or I'm just trying to say

663
00:43:33,280 --> 00:43:36,920
Speaker 1: that it's a perspective that you could take if you

664
00:43:37,040 --> 00:43:40,240
Speaker 1: take them, because we learned that from Gerry Wantrump. Okay,

665
00:43:41,000 --> 00:43:43,080
Speaker 1: you know, if I didn't do what was right for

666
00:43:43,200 --> 00:43:47,280
Speaker 1: his artist, they got fired, right. Okay, that's that's simple.

667
00:43:47,680 --> 00:43:49,440
Speaker 1: So I look at it that way today. If I

668
00:43:49,520 --> 00:43:52,520
Speaker 1: don't do what's right for Seline, she should fire me.

669
00:43:52,560 --> 00:43:54,200
Speaker 1: If I don't do what's right for the Rolling Stone

670
00:43:54,320 --> 00:43:57,680
Speaker 1: Paul and I Doe, they should fire us. Okay. I

671
00:43:57,760 --> 00:43:59,600
Speaker 1: want to make sure what we're doing is the right

672
00:43:59,680 --> 00:44:03,400
Speaker 1: job up. So that's what we felt like was missing,

673
00:44:03,640 --> 00:44:09,879
Speaker 1: and we felt like that's what we enjoy doing. Okay, Yeah,

674
00:44:10,080 --> 00:44:12,680
Speaker 1: I was talking to about this earlier today. What we

675
00:44:12,800 --> 00:44:17,279
Speaker 1: really love doing is is doing what we love doing,

676
00:44:18,160 --> 00:44:20,840
Speaker 1: and what we love doing is fighting a project and

677
00:44:20,960 --> 00:44:23,399
Speaker 1: going out there and making sure we're doing it better

678
00:44:23,440 --> 00:44:26,719
Speaker 1: than anybody else's trying to think through everything we could

679
00:44:26,760 --> 00:44:32,440
Speaker 1: possibly think of. Every artist is different. How could how

680
00:44:32,560 --> 00:44:35,399
Speaker 1: can you do the how do you take this tour

681
00:44:35,520 --> 00:44:38,239
Speaker 1: model for this other artist apply to that artist? I mean,

682
00:44:39,160 --> 00:44:40,719
Speaker 1: you can't look at it that way. You gotta look

683
00:44:40,760 --> 00:44:46,600
Speaker 1: and say, Okay, this artist and they want to do live, right,

684
00:44:46,760 --> 00:44:50,200
Speaker 1: let's just start there and then let's work it backwards

685
00:44:50,280 --> 00:44:56,160
Speaker 1: from there. Um. When on our tours, the best type

686
00:44:56,200 --> 00:45:01,120
Speaker 1: of touring deal is the deal that the guarantee is

687
00:45:01,239 --> 00:45:05,279
Speaker 1: the last thing you get to, you know, because what

688
00:45:05,440 --> 00:45:10,279
Speaker 1: it means is everybody's worked together. Okay, should be playing

689
00:45:10,360 --> 00:45:12,920
Speaker 1: these kind of places? What should the ticket prices should be?

690
00:45:12,960 --> 00:45:15,880
Speaker 1: How much we're gonna spend on production that? Who? What

691
00:45:15,960 --> 00:45:18,000
Speaker 1: are we trying to achieve here? What's it going? Do

692
00:45:18,040 --> 00:45:20,320
Speaker 1: you want to bundle the record? You not want to

693
00:45:21,120 --> 00:45:24,880
Speaker 1: all these different things? Okay? What what is right for you?

694
00:45:25,440 --> 00:45:28,440
Speaker 1: And then you sit down and go, okay, I'll bet

695
00:45:28,560 --> 00:45:31,560
Speaker 1: on then I'm going to do it right. But it's like,

696
00:45:31,719 --> 00:45:35,319
Speaker 1: go through the numbers, and here's what doing it right does,

697
00:45:35,400 --> 00:45:46,080
Speaker 1: and I'll give it to you that. Okay. So what

698
00:45:46,239 --> 00:45:52,839
Speaker 1: was the first tour you've got with Gone? I think

699
00:45:52,920 --> 00:46:00,160
Speaker 1: it was it was but Shelly is West Coast for one,

700
00:46:02,160 --> 00:46:06,640
Speaker 1: And and you know why we got it, everybody was

701
00:46:09,080 --> 00:46:13,800
Speaker 1: we dynamically priced the first fifty runs let's go, and

702
00:46:14,400 --> 00:46:17,839
Speaker 1: that generated a half a million dollars bore and our

703
00:46:17,920 --> 00:46:22,279
Speaker 1: numbers were that much bigger. Whose money were you using? That? One?

704
00:46:22,400 --> 00:46:27,160
Speaker 1: Was ours? Ok that one was like, uh, but we

705
00:46:27,320 --> 00:46:31,920
Speaker 1: found uh uh. Then we did Beriah and the Dixie Chicks,

706
00:46:32,160 --> 00:46:34,799
Speaker 1: where our next two tours I might have been Dixie Chicks,

707
00:46:34,800 --> 00:46:37,840
Speaker 1: said Mariah, one way or the other. Um. And for

708
00:46:38,040 --> 00:46:42,720
Speaker 1: that we had found a guy up in outside of Portland, Oregon,

709
00:46:43,239 --> 00:46:47,680
Speaker 1: Alan James Bless his soul passed away. Um kind of.

710
00:46:48,000 --> 00:46:51,120
Speaker 1: He was from Wilbur, Washington, which, believe it or not,

711
00:46:51,400 --> 00:46:56,080
Speaker 1: that's a summer camp that I worked at high school. Okay,

712
00:46:56,680 --> 00:46:58,800
Speaker 1: and nobody would know anyway, think about it was on

713
00:46:58,880 --> 00:47:02,000
Speaker 1: it you took a y across an Indian reservation to

714
00:47:02,080 --> 00:47:08,040
Speaker 1: get okay, so um, and he did like low budget films,

715
00:47:09,200 --> 00:47:11,319
Speaker 1: and Paul and I explained our whole thing to him

716
00:47:11,360 --> 00:47:16,680
Speaker 1: and Darren Libanatti, the kid at the time was that

717
00:47:16,800 --> 00:47:19,600
Speaker 1: Thomas and Mac and he called us and said, hey,

718
00:47:19,960 --> 00:47:24,000
Speaker 1: you should beat this guy. He's doing boxing promoting and

719
00:47:24,080 --> 00:47:27,520
Speaker 1: he's doing some low budget films. And Paul and I

720
00:47:27,680 --> 00:47:29,560
Speaker 1: went in and our you know, our whole thing is

721
00:47:29,760 --> 00:47:33,880
Speaker 1: very we're very transparent. So our deal with investors was

722
00:47:33,960 --> 00:47:37,839
Speaker 1: always looked the money gets half right and the work

723
00:47:37,840 --> 00:47:43,440
Speaker 1: gets the other hand. Okay, And that's really how we

724
00:47:43,560 --> 00:47:47,200
Speaker 1: conducted our business. Paul and I were responsible for all

725
00:47:47,280 --> 00:47:50,800
Speaker 1: the people that work for us, So Paul and I

726
00:47:50,880 --> 00:47:53,120
Speaker 1: didn't Paul and I with his funny we put ourselves.

727
00:47:53,520 --> 00:47:56,919
Speaker 1: We had two fifty dollar weeks salaries for our first year,

728
00:47:57,200 --> 00:47:59,360
Speaker 1: just so we'd have insurance and stuff like that, because

729
00:47:59,360 --> 00:48:03,560
Speaker 1: anything we may basically gave to the employees. And then

730
00:48:03,640 --> 00:48:07,560
Speaker 1: you ultimately sold that company to a G. Yeah, and

731
00:48:08,719 --> 00:48:12,640
Speaker 1: and a godfather of that to us was irving, of course,

732
00:48:13,200 --> 00:48:17,520
Speaker 1: and he saw it. Uh. Ironically, Paul and I were

733
00:48:17,520 --> 00:48:22,000
Speaker 1: actually beating with SMG because part of our whole pitch. Remember, Paul,

734
00:48:22,239 --> 00:48:26,040
Speaker 1: we started a little company called Arena Network back and

735
00:48:26,239 --> 00:48:29,879
Speaker 1: it was part of uh a fact his fuddy story.

736
00:48:31,680 --> 00:48:34,080
Speaker 1: Back then, we couldn't afford to fly, so we drove

737
00:48:34,120 --> 00:48:36,800
Speaker 1: back and forth to Vegas for meeting. It's right, so

738
00:48:37,040 --> 00:48:40,680
Speaker 1: we're driving. I went to I got the name he

739
00:48:40,719 --> 00:48:42,799
Speaker 1: said for this RITA thing. He said what I said

740
00:48:43,560 --> 00:48:49,680
Speaker 1: as Rita's for excellence. And I would have been right.

741
00:48:49,719 --> 00:48:51,640
Speaker 1: At the same time, it would have been great explain

742
00:48:51,680 --> 00:48:56,719
Speaker 1: what Arena Network is. Rita Network and it still exist. No,

743
00:48:56,880 --> 00:48:59,040
Speaker 1: we sold it back to the members. I don't know

744
00:48:59,280 --> 00:49:02,880
Speaker 1: a number of your ago now, but it was it

745
00:49:03,000 --> 00:49:06,280
Speaker 1: basically came from the concept that the arena managers retired

746
00:49:06,320 --> 00:49:09,719
Speaker 1: to waken up and seeing that an act was seen

747
00:49:09,800 --> 00:49:11,840
Speaker 1: in the Sunday paper that an act was playing at

748
00:49:11,880 --> 00:49:14,839
Speaker 1: an amphitheater down the street and they never even got

749
00:49:14,880 --> 00:49:18,200
Speaker 1: a phone call because their local promoter in the marketplace

750
00:49:18,320 --> 00:49:23,600
Speaker 1: on the amphitheat So this was created to really protect

751
00:49:23,680 --> 00:49:27,440
Speaker 1: the arenas. Concerts. West, I guess was always an arena

752
00:49:27,600 --> 00:49:30,680
Speaker 1: company just because you know, the first ones who had

753
00:49:30,680 --> 00:49:33,919
Speaker 1: amphitheaters were the needer Landers and there weren't that many

754
00:49:33,960 --> 00:49:39,480
Speaker 1: of them, Okay, so uh we felt that those guys

755
00:49:39,719 --> 00:49:46,520
Speaker 1: needed a you know, a voice. And at the same

756
00:49:46,640 --> 00:49:49,040
Speaker 1: time there were a group it was Brad Mayne, it

757
00:49:49,160 --> 00:49:55,040
Speaker 1: was Tim Ryan h Kevin tuwig Hat Spokane, Darren Libanoni.

758
00:49:55,120 --> 00:49:59,000
Speaker 1: That's how we got tied with Darren um I'm sure

759
00:49:59,040 --> 00:50:03,239
Speaker 1: I'm forgetting somebody Jim from San Jose. They were like

760
00:50:03,320 --> 00:50:08,200
Speaker 1: the core guys and they were like, look, our owners

761
00:50:09,360 --> 00:50:14,320
Speaker 1: are our owners are you know? They're not happy with

762
00:50:14,400 --> 00:50:18,440
Speaker 1: this situation? What's going on with these amphitheaters. Okay, what

763
00:50:18,600 --> 00:50:21,080
Speaker 1: people forgetting our business is that because you've been around,

764
00:50:21,120 --> 00:50:23,839
Speaker 1: you've seen a lot. Okay, you and I grew up

765
00:50:24,000 --> 00:50:30,080
Speaker 1: with civic and university facilities. Okay, it was Spokane Civic Center,

766
00:50:30,600 --> 00:50:36,320
Speaker 1: was University of Tennessee Arena, whatever. It was. Okay that

767
00:50:36,600 --> 00:50:42,200
Speaker 1: the Amphitheaters came along as a cheap outdoor venue, you know,

768
00:50:42,680 --> 00:50:45,680
Speaker 1: kind of the Dead Landers. And then they were owned

769
00:50:45,680 --> 00:50:49,640
Speaker 1: by promoters, owned by promoters, right, But then the arenas

770
00:50:49,680 --> 00:50:54,759
Speaker 1: went private, which the Palace gunned. Those were like the

771
00:50:54,840 --> 00:50:58,160
Speaker 1: first And when the owners of the NBA and the

772
00:50:58,280 --> 00:51:01,640
Speaker 1: NHL team said hell, I'm gonna go build my own places,

773
00:51:02,080 --> 00:51:05,400
Speaker 1: that was another paradigm shift, okay, and that's what we

774
00:51:05,560 --> 00:51:13,160
Speaker 1: kind of exist there today. Um, you know, the amphitheaters.

775
00:51:14,239 --> 00:51:16,080
Speaker 1: Let's put it this way. I don't think the amphitheaters

776
00:51:16,120 --> 00:51:21,080
Speaker 1: are as popular today as they were. They're not. I

777
00:51:21,600 --> 00:51:23,640
Speaker 1: think a repeenum would agree with you owns most of

778
00:51:23,680 --> 00:51:31,279
Speaker 1: them now. Hollywood Ball it's not anything. I know, it's great,

779
00:51:31,480 --> 00:51:34,400
Speaker 1: you know. I mean I wouldn't call that at the Amphitheater,

780
00:51:34,520 --> 00:51:37,319
Speaker 1: No I would. But because there was stuff that would

781
00:51:37,320 --> 00:51:40,560
Speaker 1: sell at Hollywood Bowl before they turned tore down the

782
00:51:40,600 --> 00:51:45,440
Speaker 1: Revine meadows that wouldn't that would lose money at Refinement correct, correct?

783
00:51:46,239 --> 00:51:50,239
Speaker 1: You know? Well, I mean again they started back then

784
00:51:50,520 --> 00:51:52,920
Speaker 1: there mixes. So at a certain point, I guess we

785
00:51:53,040 --> 00:51:57,759
Speaker 1: all called it, ah, the Jimmy Buffett deals. We're paying

786
00:51:57,800 --> 00:52:00,560
Speaker 1: a hundred and five percent of growth or whatever it us. Right,

787
00:52:00,640 --> 00:52:06,000
Speaker 1: that was another that was the shift. Okay, So I

788
00:52:06,040 --> 00:52:09,560
Speaker 1: don't know. Okay, so you're sold to a G. So

789
00:52:09,880 --> 00:52:13,040
Speaker 1: what is the mission for Concerts West at this point?

790
00:52:14,200 --> 00:52:17,960
Speaker 1: It's really funny the well, the bishop for Concerts West

791
00:52:18,040 --> 00:52:20,640
Speaker 1: today is very different than the biship for a E

792
00:52:20,800 --> 00:52:25,520
Speaker 1: G presents all of that because Paul and I we

793
00:52:25,880 --> 00:52:32,719
Speaker 1: we were the original block of it. UM. We had

794
00:52:32,840 --> 00:52:38,080
Speaker 1: touring and kind of golden Voice in our minds um,

795
00:52:39,080 --> 00:52:42,400
Speaker 1: but we did have regional offices in our plan. And

796
00:52:42,440 --> 00:52:44,640
Speaker 1: then if I go back to the original business plan

797
00:52:44,800 --> 00:52:48,840
Speaker 1: that Irving Paul and I presented to Phil and his

798
00:52:49,000 --> 00:52:53,680
Speaker 1: guys in Las Vegas, it had all that in it. Okay,

799
00:52:54,280 --> 00:52:56,600
Speaker 1: but we said we wanted to start with the touring.

800
00:52:58,120 --> 00:53:02,680
Speaker 1: UH actually wanted to buy a Golden Voice because of

801
00:53:03,480 --> 00:53:10,839
Speaker 1: their relationship with developing artists. Okay, Coachella was not Coachella

802
00:53:11,400 --> 00:53:14,279
Speaker 1: at that time. Because Paul Goga and I, you know,

803
00:53:15,000 --> 00:53:19,879
Speaker 1: we're helping back Paul t Um after his first year.

804
00:53:20,040 --> 00:53:23,760
Speaker 1: The first year they did it, they lost, they lost everything, okay,

805
00:53:24,640 --> 00:53:27,719
Speaker 1: and then and Paul came. Then there wasn't the one

806
00:53:27,760 --> 00:53:30,160
Speaker 1: the next year. And then Paul Ty came to our

807
00:53:30,239 --> 00:53:32,000
Speaker 1: office and asked Goga and I if we take a

808
00:53:32,120 --> 00:53:34,359
Speaker 1: ride out to the desert with him, and God, wear

809
00:53:34,560 --> 00:53:36,400
Speaker 1: was like he got it immediately. He was like, hey,

810
00:53:36,520 --> 00:53:39,239
Speaker 1: it takes three years to get these things to happen.

811
00:53:39,920 --> 00:53:44,799
Speaker 1: So we backed them. Irving was part of that. UM

812
00:53:45,880 --> 00:53:50,279
Speaker 1: lost money. But then when we sold the company, they're

813
00:53:50,320 --> 00:53:55,120
Speaker 1: going like, what's this Coachella thing? You're throwing your ship

814
00:53:55,200 --> 00:54:01,480
Speaker 1: at the deal here and you know, um, but our

815
00:54:01,600 --> 00:54:08,719
Speaker 1: vision back then was always to be equality over quantity, guy,

816
00:54:09,760 --> 00:54:12,239
Speaker 1: and I hope that is what it is today. In fact,

817
00:54:12,320 --> 00:54:15,560
Speaker 1: I I forever telling people that were you know, in

818
00:54:15,640 --> 00:54:18,000
Speaker 1: our group and all of that, and when they get

819
00:54:18,040 --> 00:54:21,480
Speaker 1: into this competition thing, and I'm always like, don't compete.

820
00:54:22,160 --> 00:54:26,280
Speaker 1: It's just a waste of your energy. Be different, be yourself,

821
00:54:26,440 --> 00:54:29,719
Speaker 1: be you know you've got something to offer. You know,

822
00:54:30,560 --> 00:54:33,440
Speaker 1: in our business, there's always horses for courses, you know

823
00:54:33,440 --> 00:54:37,000
Speaker 1: what I mean. And when you're when when you have

824
00:54:37,160 --> 00:54:40,440
Speaker 1: to match people up with personalities and not just the artists,

825
00:54:40,480 --> 00:54:43,520
Speaker 1: but also the other personalities around them. A lot of

826
00:54:43,560 --> 00:54:47,120
Speaker 1: times that are handling it. Sometimes it's simple as just

827
00:54:47,280 --> 00:54:55,239
Speaker 1: having the right person, you know. So to Paul and I, here,

828
00:54:55,320 --> 00:54:58,480
Speaker 1: I'll tell you what this is. Here's our mission statement. Okay,

829
00:54:58,600 --> 00:55:01,080
Speaker 1: this will say what we want Concerts West to be.

830
00:55:01,160 --> 00:55:05,000
Speaker 1: It's exactly this. I don't want to buy companies. We

831
00:55:05,080 --> 00:55:08,960
Speaker 1: want to hire good people. We want to empower them.

832
00:55:09,160 --> 00:55:13,160
Speaker 1: Empowerment means that if you give somebody responsibility, you give

833
00:55:13,239 --> 00:55:17,120
Speaker 1: them authority, you give them the resources that they need,

834
00:55:17,400 --> 00:55:21,800
Speaker 1: whether it's the money, back office support, et cetera. And

835
00:55:21,880 --> 00:55:23,680
Speaker 1: the most important thing to get the funk out of

836
00:55:23,719 --> 00:55:28,480
Speaker 1: their way. Okay, and it's so hard for people to do.

837
00:55:29,480 --> 00:55:33,440
Speaker 1: Everybody wants to listen. I know it's listen. I watched

838
00:55:33,520 --> 00:55:38,000
Speaker 1: Jim Allison and John Nelson first Legal the job that

839
00:55:38,080 --> 00:55:42,399
Speaker 1: they're doing on Selindi on right now, and there they're

840
00:55:42,480 --> 00:55:45,239
Speaker 1: the ones doing the job. Okay, so you're working on

841
00:55:45,400 --> 00:55:51,360
Speaker 1: Selene now, you're working on the Stones. We've got Asia's

842
00:55:52,160 --> 00:55:54,360
Speaker 1: you know, we've got Edgar and running all over Asia

843
00:55:54,480 --> 00:56:00,920
Speaker 1: right now. Uh uh. Seline is finish it at the

844
00:56:01,520 --> 00:56:04,600
Speaker 1: at the policy and there's only sixteen shows left. That's

845
00:56:04,640 --> 00:56:08,320
Speaker 1: pretty amazing, and there's some other tours were working on.

846
00:56:08,440 --> 00:56:11,040
Speaker 1: I mean right now, my focus right now with Selene's

847
00:56:11,080 --> 00:56:15,919
Speaker 1: tour and um, because it's we're an on sale week okay,

848
00:56:15,960 --> 00:56:20,840
Speaker 1: so you're still an arena company looking for complete tours, correct, Okay?

849
00:56:21,040 --> 00:56:26,920
Speaker 1: And a globally it doesn't happen us. We're stadiums too.

850
00:56:27,520 --> 00:56:30,520
Speaker 1: I think we have a bunch of experience stadiums worldwide.

851
00:56:30,600 --> 00:56:33,440
Speaker 1: Is anybody if not more? Okay, tell the story of

852
00:56:33,480 --> 00:56:38,040
Speaker 1: how he got the stones? Oh god, it's better Paul

853
00:56:38,120 --> 00:56:41,799
Speaker 1: telling the story. Uh he was the one that sat

854
00:56:41,840 --> 00:56:47,040
Speaker 1: on Joyce's doorstep and that's their attorney manager. Correct And

855
00:56:47,840 --> 00:56:52,000
Speaker 1: uh well at the time they had Dainty in Australia. Yeah,

856
00:56:52,200 --> 00:56:56,279
Speaker 1: and I you know, I don't know. I can't really

857
00:56:56,320 --> 00:56:59,120
Speaker 1: say what happened why that fell apart. I think they

858
00:56:59,200 --> 00:57:04,120
Speaker 1: have to do with my But you know that's look,

859
00:57:05,280 --> 00:57:09,200
Speaker 1: I mean, that's why above all you got you love

860
00:57:09,280 --> 00:57:12,520
Speaker 1: Phil Answers. Okay, I mean, if you really look at it,

861
00:57:13,680 --> 00:57:16,680
Speaker 1: why are we able to get the rolling Stones because

862
00:57:16,720 --> 00:57:19,680
Speaker 1: we have Phil Answers, somebody who's willing to write to

863
00:57:19,760 --> 00:57:23,840
Speaker 1: check and who gets it and his guys get it. Okay.

864
00:57:24,280 --> 00:57:27,000
Speaker 1: I mean when you really look at it. I mean

865
00:57:27,640 --> 00:57:31,280
Speaker 1: dand becker By, Ted Vick Ray, Todd Golts, the Jay Barciato,

866
00:57:31,880 --> 00:57:37,920
Speaker 1: Ted Tanner, the guys right there around Phil. They're really

867
00:57:38,080 --> 00:57:45,720
Speaker 1: good guys. And the interesting thing is we say this

868
00:57:45,880 --> 00:57:50,560
Speaker 1: internally that, but every single deal that I've brought to Phil,

869
00:57:51,800 --> 00:57:57,600
Speaker 1: he has said yes, wow. And and that includes telling

870
00:57:57,680 --> 00:58:00,600
Speaker 1: this guy about a thing called Seline on the show

871
00:58:00,680 --> 00:58:03,080
Speaker 1: in Las Vegas and heard her husband want to do

872
00:58:05,000 --> 00:58:07,280
Speaker 1: and everybody in the world thinks it ain't gonna work.

873
00:58:07,640 --> 00:58:10,200
Speaker 1: And he says, well, how much are we risking here?

874
00:58:10,280 --> 00:58:12,920
Speaker 1: And I said, rofully, a hundred and fifty billion dollars

875
00:58:13,520 --> 00:58:16,640
Speaker 1: that ballpark is someone and he and he just looked

876
00:58:16,640 --> 00:58:19,520
Speaker 1: at me and said, you know, John, I think we

877
00:58:19,600 --> 00:58:26,520
Speaker 1: should do it. Okay. I mean, there aren't that many

878
00:58:26,600 --> 00:58:30,600
Speaker 1: guys out there like I mean, that is like and

879
00:58:30,800 --> 00:58:35,480
Speaker 1: to have, honestly, you know, I mean, it fills a

880
00:58:35,600 --> 00:58:39,480
Speaker 1: much more conservative regular guy than the rest of us. Okay,

881
00:58:41,280 --> 00:58:43,160
Speaker 1: to have the patience to put up with all of

882
00:58:43,240 --> 00:58:47,800
Speaker 1: our crap. I mean that alone. You know, he's good.

883
00:58:47,920 --> 00:58:53,440
Speaker 1: But I think Phil loves what's been created, like I

884
00:58:53,560 --> 00:58:56,480
Speaker 1: think of it. I tell people this, it's like a playground. Okay,

885
00:58:57,040 --> 00:58:59,520
Speaker 1: if you look around a e g. There's so many

886
00:58:59,600 --> 00:59:02,640
Speaker 1: cool things to play with, and if you come up

887
00:59:02,680 --> 00:59:06,360
Speaker 1: with something cool and it makes sense, Phil will say,

888
00:59:06,960 --> 00:59:10,160
Speaker 1: let's go do it. The Bangkok arita that they're all

889
00:59:10,240 --> 00:59:14,280
Speaker 1: working on like Strasbourg in Denver or there in the

890
00:59:14,320 --> 00:59:18,200
Speaker 1: Mission ballroom, etcetera. But going back to the stones, Okay,

891
00:59:18,320 --> 00:59:21,600
Speaker 1: you know, talking generally and act like that, how do

892
00:59:21,680 --> 00:59:24,400
Speaker 1: they let you make money? You're putting up all this money.

893
00:59:25,120 --> 00:59:27,800
Speaker 1: They have a legend of take of getting these guarantees.

894
00:59:27,880 --> 00:59:30,960
Speaker 1: Do you say, hey, you know, uh, we gotta make

895
00:59:31,000 --> 00:59:34,640
Speaker 1: our expert sentage or how does it work? Uh? We

896
00:59:34,760 --> 00:59:38,120
Speaker 1: put up in big guarantees. But I mean it's Look,

897
00:59:39,040 --> 00:59:44,920
Speaker 1: they're very fair people. They understand. Look, they know this business.

898
00:59:45,680 --> 00:59:48,800
Speaker 1: Well is anybody Okay, I give you a brother. Have

899
00:59:49,160 --> 00:59:51,760
Speaker 1: no one been doing it and doing it at that

900
00:59:52,040 --> 00:59:53,960
Speaker 1: level for as long as they've been doing it. And

901
00:59:54,120 --> 00:59:57,760
Speaker 1: they have nothing but amazing people behind them. Choice or

902
00:59:57,840 --> 01:00:01,280
Speaker 1: manager Tim Woolley who produced is all of the tours,

903
01:00:01,720 --> 01:00:05,960
Speaker 1: all the financial supporting them, everything to do with that Opie,

904
01:00:06,040 --> 01:00:09,640
Speaker 1: their production at Patrick Woodruff and then all of the

905
01:00:09,680 --> 01:00:14,240
Speaker 1: people on our side, uh that are out there working

906
01:00:14,360 --> 01:00:18,560
Speaker 1: these things. Um, what's so cool about the Rolling Stones

907
01:00:18,720 --> 01:00:20,520
Speaker 1: is that every time they go out to another tour,

908
01:00:21,280 --> 01:00:26,080
Speaker 1: do you look around the organization? Maybe one person changed.

909
01:00:26,880 --> 01:00:30,760
Speaker 1: I mean, it's like everybody's still there. Everybody wants to

910
01:00:30,880 --> 01:00:36,800
Speaker 1: be there. It's as professional as you can be at all.

911
01:00:37,960 --> 01:00:43,080
Speaker 1: So but there they're they're fair guys. You know, they

912
01:00:43,240 --> 01:00:47,600
Speaker 1: get it, you know, and and Enjoyce gets it, and

913
01:00:48,320 --> 01:00:52,560
Speaker 1: you know, I think, yeah, they they allow us to

914
01:00:52,640 --> 01:00:56,440
Speaker 1: make money. They want us to make money, okay, but

915
01:00:56,600 --> 01:01:00,480
Speaker 1: they know that our first priority is, you know, to

916
01:01:00,680 --> 01:01:05,480
Speaker 1: do the tour the way they want their tour done. Okay.

917
01:01:05,800 --> 01:01:09,160
Speaker 1: So famously, although you mentioned you did it earlier in

918
01:01:09,240 --> 01:01:12,560
Speaker 1: your career when the Stones came back after their fifty

919
01:01:12,840 --> 01:01:17,120
Speaker 1: you've been doing dynamic pricing. So explain the motivation and

920
01:01:17,320 --> 01:01:22,760
Speaker 1: how that ultimately works. Easy motivation. Um, we had an

921
01:01:22,800 --> 01:01:26,720
Speaker 1: open ticket, which I define as as soon as you

922
01:01:26,800 --> 01:01:28,640
Speaker 1: sold it to the consumer, they were free to do

923
01:01:28,720 --> 01:01:35,640
Speaker 1: whatever they wish with it. And uh, we were watching.

924
01:01:36,200 --> 01:01:39,360
Speaker 1: We would sell a ticket for a hundred dollars and

925
01:01:39,480 --> 01:01:45,840
Speaker 1: watch it get resold for five. It went, that's wrong, okay, Uh,

926
01:01:48,480 --> 01:01:54,280
Speaker 1: you can't stop supplying to that, okay, So we said, wait,

927
01:01:54,320 --> 01:01:58,120
Speaker 1: a minute, that money belongs to the artist. But he doesn't,

928
01:01:58,240 --> 01:02:00,800
Speaker 1: you know, And again I always say the artists, because

929
01:02:01,400 --> 01:02:03,800
Speaker 1: what we make is based upon what the artist makes.

930
01:02:04,120 --> 01:02:06,360
Speaker 1: The artist makes more I make, So I look at it,

931
01:02:06,400 --> 01:02:08,520
Speaker 1: I go, wait a minute, that money belongs to the artist.

932
01:02:08,640 --> 01:02:11,880
Speaker 1: So it has been a concern. I know everybody is

933
01:02:11,880 --> 01:02:15,120
Speaker 1: aware of it now. As you know, this has been

934
01:02:15,200 --> 01:02:20,080
Speaker 1: a concerted effort of ours now for over a decade, okay,

935
01:02:20,760 --> 01:02:23,120
Speaker 1: that we have been figuring out how to get that

936
01:02:23,440 --> 01:02:27,360
Speaker 1: money that used to exist in what we call the

937
01:02:27,400 --> 01:02:31,120
Speaker 1: secondary market. How do we get that back over onto

938
01:02:32,080 --> 01:02:35,280
Speaker 1: at least the side of the fence of the industry

939
01:02:36,240 --> 01:02:39,400
Speaker 1: be it goes to the artist. But even you guys

940
01:02:39,480 --> 01:02:41,280
Speaker 1: are your building to get it back on your side

941
01:02:41,320 --> 01:02:46,360
Speaker 1: of the fence. Don't have these outside guys they have

942
01:02:47,280 --> 01:02:51,840
Speaker 1: they have no right to be in our business to

943
01:02:51,960 --> 01:02:55,920
Speaker 1: the degree that they are today. Um. And and it's

944
01:02:55,920 --> 01:02:57,880
Speaker 1: our own fault because we look at but now the

945
01:02:57,960 --> 01:03:04,120
Speaker 1: stones legendarily starting decades ago, UH would charge with the

946
01:03:05,640 --> 01:03:09,880
Speaker 1: the real price of the ticket, okay, the secondary market price.

947
01:03:10,360 --> 01:03:15,120
Speaker 1: Do you think it call market value? Market value? Absolutely? Uh?

948
01:03:15,560 --> 01:03:18,960
Speaker 1: Do you think of the who's other acts? Developing acts

949
01:03:19,080 --> 01:03:22,400
Speaker 1: or acts with different issues of credibility to charge less

950
01:03:22,440 --> 01:03:26,800
Speaker 1: or should everybody charge what the market will bear? No, No,

951
01:03:27,120 --> 01:03:31,120
Speaker 1: I think it's a gad go back to the individual artist. Okay. Um,

952
01:03:32,520 --> 01:03:38,760
Speaker 1: for the Rolling Stones, what they don't have is time. Okay,

953
01:03:39,640 --> 01:03:43,200
Speaker 1: they're only gonna do X number of shows. If you

954
01:03:43,400 --> 01:03:48,280
Speaker 1: remember when Paul and I did Princess Musicology tour, Okay,

955
01:03:49,480 --> 01:03:51,680
Speaker 1: we had no scalping problem at all. We had no

956
01:03:51,800 --> 01:03:54,960
Speaker 1: secondary ticket problem at all. Why because we kept at

957
01:03:55,040 --> 01:03:57,160
Speaker 1: each shows so we were able to keep our price down,

958
01:03:57,680 --> 01:04:00,640
Speaker 1: and we were at each show after show after show.

959
01:04:00,720 --> 01:04:03,680
Speaker 1: And even Prince said back then, he said, look, if

960
01:04:03,760 --> 01:04:08,400
Speaker 1: we've sold four Philadelphias and we think we can only

961
01:04:08,520 --> 01:04:12,160
Speaker 1: sell a half of another one, we're already set up.

962
01:04:12,600 --> 01:04:15,440
Speaker 1: Let's do the show. We'll figure out a way to

963
01:04:16,080 --> 01:04:18,640
Speaker 1: take care of underprivileged kids and stuff like that with

964
01:04:18,760 --> 01:04:21,680
Speaker 1: the rating tickets. So we never had the twenty one

965
01:04:21,800 --> 01:04:24,440
Speaker 1: nights and London we never had a It was the

966
01:04:24,560 --> 01:04:28,200
Speaker 1: theory behind the fifty Nights of Michael and Michael Jackson.

967
01:04:29,360 --> 01:04:31,560
Speaker 1: That's the way you keep your ticket price down, and

968
01:04:31,720 --> 01:04:34,320
Speaker 1: it is important for artists to keep your ticket price down.

969
01:04:34,960 --> 01:04:37,600
Speaker 1: Younger artists should keep it down, but they have to

970
01:04:37,640 --> 01:04:43,000
Speaker 1: play more. Okay, an older artist who can't tour as much,

971
01:04:43,040 --> 01:04:47,200
Speaker 1: who's going to have less frequency on the road, has

972
01:04:47,280 --> 01:04:50,200
Speaker 1: got number one a bigger you know, there's going to

973
01:04:50,280 --> 01:04:54,320
Speaker 1: be more demand because there's less supply. And then if

974
01:04:54,400 --> 01:04:57,720
Speaker 1: you get to let's call it, the artists have been

975
01:04:57,760 --> 01:05:02,720
Speaker 1: around for four or five decades. Their generation is also

976
01:05:02,880 --> 01:05:05,040
Speaker 1: at the time of their lives where they have money.

977
01:05:06,360 --> 01:05:07,920
Speaker 1: I got a great analogy for that. I heard this

978
01:05:08,000 --> 01:05:09,640
Speaker 1: when I was over in London a couple of weeks ago.

979
01:05:10,320 --> 01:05:12,200
Speaker 1: You know, we always talk about how it's the boomer

980
01:05:12,280 --> 01:05:16,480
Speaker 1: generation can afford all these hype prices. Somebody from the

981
01:05:16,600 --> 01:05:19,440
Speaker 1: eighties came up to me and said, hey, you know what,

982
01:05:20,200 --> 01:05:22,600
Speaker 1: I don't mind paying two hundred and fifty dollars a

983
01:05:22,680 --> 01:05:25,959
Speaker 1: ticket to go see Duran Duran for being my wife.

984
01:05:26,840 --> 01:05:29,960
Speaker 1: And I just started laughing at I loved it. It's

985
01:05:30,000 --> 01:05:34,320
Speaker 1: great because that the only problem is that generation so smaller. Right,

986
01:05:34,840 --> 01:05:37,600
Speaker 1: So going back to the stones, tell us how the

987
01:05:38,000 --> 01:05:48,600
Speaker 1: dynamic pricing works? Well, um, oh yeah, how do I

988
01:05:50,480 --> 01:05:53,720
Speaker 1: I don't know, you know, what's a henway. I mean,

989
01:05:53,840 --> 01:05:56,520
Speaker 1: it's it's hard to explain. Let's just assume for the

990
01:05:56,560 --> 01:05:59,280
Speaker 1: sake of numbers. You have an arena that's twenty people,

991
01:05:59,800 --> 01:06:03,000
Speaker 1: the big arena, but let's just use that number and

992
01:06:03,120 --> 01:06:06,440
Speaker 1: you go on sale, forget any pre sales. Whatever, you

993
01:06:06,520 --> 01:06:08,760
Speaker 1: go on sale. How many of those tickets would actually

994
01:06:08,840 --> 01:06:11,880
Speaker 1: be on sale at the beginning or do you just

995
01:06:12,040 --> 01:06:14,000
Speaker 1: put a certain number to figure out what the price

996
01:06:14,080 --> 01:06:19,440
Speaker 1: would be. Two things you've heard, like Marcus talk about it, uh,

997
01:06:19,800 --> 01:06:24,560
Speaker 1: which is slow ticketing. Right. Okay, you kind of got

998
01:06:24,680 --> 01:06:27,120
Speaker 1: to decide up front what you want to do. Okay.

999
01:06:27,680 --> 01:06:30,760
Speaker 1: You can't say, oh I want quick ticketing and it

1000
01:06:30,840 --> 01:06:33,320
Speaker 1: didn't work, and then later you said, oh I really

1001
01:06:33,360 --> 01:06:37,880
Speaker 1: wanted slow ticketing, That right could get sucked up. Okay.

1002
01:06:38,440 --> 01:06:43,880
Speaker 1: So slow ticketing is something for where you don't mind

1003
01:06:44,040 --> 01:06:47,400
Speaker 1: taking the time to sell all of the tickets, but

1004
01:06:47,600 --> 01:06:52,000
Speaker 1: you're gonna be able to learn more and and the

1005
01:06:52,120 --> 01:06:54,760
Speaker 1: technology is all there today. You're gonna be able to

1006
01:06:55,000 --> 01:06:57,360
Speaker 1: learn more over a slower process and be able to

1007
01:06:57,440 --> 01:07:01,000
Speaker 1: adjust your prices. So, like Ticketmaster has a program called

1008
01:07:01,080 --> 01:07:05,200
Speaker 1: price Master today, and if you use price Master after

1009
01:07:05,360 --> 01:07:07,840
Speaker 1: you're on sale, it will say, hey, see those two

1010
01:07:07,920 --> 01:07:11,480
Speaker 1: roads of tickets that you have a hundred seventy Well,

1011
01:07:11,560 --> 01:07:14,400
Speaker 1: if you drop them to a hundred and fifty, they'll

1012
01:07:14,440 --> 01:07:18,880
Speaker 1: all sell in three days, or they just do its algorithms.

1013
01:07:19,360 --> 01:07:21,960
Speaker 1: So they know that here's here's a good way. I

1014
01:07:22,040 --> 01:07:25,560
Speaker 1: look at the ticketing world today. Okay, we just went

1015
01:07:25,680 --> 01:07:28,240
Speaker 1: through I don't know, maybe it was a couple of decades,

1016
01:07:31,080 --> 01:07:36,040
Speaker 1: but at least one decade figuring out the technology, right, Okay,

1017
01:07:36,600 --> 01:07:38,240
Speaker 1: so you have to go today, and you've got to

1018
01:07:38,280 --> 01:07:42,560
Speaker 1: go the technology exists today to do whatever you want

1019
01:07:42,600 --> 01:07:47,280
Speaker 1: to do. Okay. So it's not about technology, it's about

1020
01:07:47,360 --> 01:07:53,520
Speaker 1: business rules. Okay. So that's going to be the challenge next. Okay,

1021
01:07:53,560 --> 01:07:58,200
Speaker 1: because there is transparency, we know that we could follow everything,

1022
01:07:58,480 --> 01:08:01,560
Speaker 1: so you can't hide anything anymore because a lot of

1023
01:08:01,640 --> 01:08:05,040
Speaker 1: people are like, I haven't explained now why they hid

1024
01:08:05,160 --> 01:08:08,680
Speaker 1: things a long time ago and why they hit them all. Um.

1025
01:08:09,680 --> 01:08:13,960
Speaker 1: Problem with lyon as you've got to remember them okay. Um.

1026
01:08:15,720 --> 01:08:21,120
Speaker 1: So it's become a very transparent world. Okay. We can

1027
01:08:21,360 --> 01:08:25,320
Speaker 1: see what the supply and demand is today on anything, okay,

1028
01:08:26,280 --> 01:08:29,840
Speaker 1: and we have the technology to do it anyway we

1029
01:08:29,920 --> 01:08:33,000
Speaker 1: want to do it. Okay. So it's really good to

1030
01:08:33,040 --> 01:08:37,240
Speaker 1: put the onus back on the business rules. Should I

1031
01:08:39,120 --> 01:08:43,160
Speaker 1: allow one company to exclusively sell all of my tickets?

1032
01:08:43,520 --> 01:08:46,240
Speaker 1: Should I do it a bunch a bunch of companies?

1033
01:08:47,400 --> 01:08:50,240
Speaker 1: You know, if I have one company sell all my tickets,

1034
01:08:50,640 --> 01:08:54,679
Speaker 1: maybe they'll give me more money. But I think we're

1035
01:08:55,920 --> 01:08:58,000
Speaker 1: I kind of think we're passing the big check from

1036
01:08:58,040 --> 01:09:02,280
Speaker 1: ticket Maaster. You know, well, well the ticket master a

1037
01:09:02,360 --> 01:09:04,240
Speaker 1: lot of times they have an exclusive with a building.

1038
01:09:04,320 --> 01:09:08,120
Speaker 1: That's so you don't have the option to use other

1039
01:09:08,200 --> 01:09:11,760
Speaker 1: ticketing companies. How do you think Coca Cola would have

1040
01:09:11,800 --> 01:09:16,080
Speaker 1: done if they could only sell a Ralph's stores? They

1041
01:09:16,120 --> 01:09:18,439
Speaker 1: would not have done well? And why have we been

1042
01:09:18,479 --> 01:09:20,479
Speaker 1: doing that for all these years? Now? I'm not saying

1043
01:09:20,520 --> 01:09:23,160
Speaker 1: you're wrong, I'm saying, say, do you believe the buildings

1044
01:09:23,240 --> 01:09:27,840
Speaker 1: themselves will not take that curate? I think it's either

1045
01:09:28,040 --> 01:09:33,000
Speaker 1: them or the artist. Okay, I think ultimately it's there.

1046
01:09:33,960 --> 01:09:35,760
Speaker 1: I mean I should guess I should be able to

1047
01:09:35,800 --> 01:09:37,840
Speaker 1: say it should be the promoter to since we're putting

1048
01:09:37,920 --> 01:09:40,040
Speaker 1: up the buddy. But remember we put up all the

1049
01:09:40,120 --> 01:09:41,880
Speaker 1: money and we're still at the very bottom of them

1050
01:09:42,560 --> 01:09:48,400
Speaker 1: food here. Yeah, but either the venue control the tickets

1051
01:09:48,439 --> 01:09:53,240
Speaker 1: because they have a civic responsibility, or the artist controls

1052
01:09:53,280 --> 01:09:58,360
Speaker 1: their ticket They're fucking their tickets. Okay, it's like we

1053
01:09:58,479 --> 01:10:00,160
Speaker 1: go back to Pearl's head, we go back to ever

1054
01:10:00,280 --> 01:10:03,240
Speaker 1: we want. Okay, I mean Pearl jab never went in

1055
01:10:03,400 --> 01:10:05,519
Speaker 1: and asked a simple question of can we sell our

1056
01:10:05,560 --> 01:10:08,760
Speaker 1: tickets without service charges, to which at the time Terry

1057
01:10:08,760 --> 01:10:11,439
Speaker 1: Barnes would have said, sure, here's how much it cost.

1058
01:10:12,280 --> 01:10:18,080
Speaker 1: Nobody wanted to talk about that, you know, so think

1059
01:10:18,120 --> 01:10:20,519
Speaker 1: of it as a leaky bucket, right, and the leaky

1060
01:10:20,560 --> 01:10:25,360
Speaker 1: bucket was really bad at the secondary market. Okay, Now

1061
01:10:25,479 --> 01:10:28,360
Speaker 1: we've started to learn how to close up our bucket,

1062
01:10:28,680 --> 01:10:34,120
Speaker 1: but we still need open distribution tools to not have

1063
01:10:34,320 --> 01:10:37,400
Speaker 1: open distribution for our product. Well, I know, if I'm

1064
01:10:37,439 --> 01:10:39,760
Speaker 1: talking to someone in your organization, they made a deal

1065
01:10:40,160 --> 01:10:43,920
Speaker 1: in Amazon sold some tickets for them, and they sold tickets.

1066
01:10:44,040 --> 01:10:47,839
Speaker 1: You know that they couldn't reach through the traditional ways. Correct.

1067
01:10:49,160 --> 01:10:53,200
Speaker 1: That was that over in London and worked beautifully. Okay.

1068
01:10:53,840 --> 01:10:58,400
Speaker 1: I mean, well, we all know there's giant communities out there,

1069
01:10:58,760 --> 01:11:04,479
Speaker 1: online community, these other it's just communities, right, and so

1070
01:11:04,960 --> 01:11:08,040
Speaker 1: why shouldn't we be reaching out to those people? Okay?

1071
01:11:08,479 --> 01:11:10,800
Speaker 1: We want you know, you try to get your music

1072
01:11:10,920 --> 01:11:13,960
Speaker 1: out to everybody. You try to sell your records everywhere

1073
01:11:14,000 --> 01:11:18,360
Speaker 1: I used to. But why aren't we make making our

1074
01:11:18,439 --> 01:11:21,920
Speaker 1: tickets available the airlines? Do I mean? Do you think

1075
01:11:22,000 --> 01:11:26,799
Speaker 1: American Airlines and United dislike Orbits? Of course they hate Orbits,

1076
01:11:27,600 --> 01:11:31,360
Speaker 1: but they liked that. But the only one that's independent

1077
01:11:31,439 --> 01:11:35,200
Speaker 1: is Southwest. Yeah, but everybody else I understand your point. No,

1078
01:11:35,360 --> 01:11:38,040
Speaker 1: my point, Okay, they have They're on Expedia, they're on Orbits,

1079
01:11:38,080 --> 01:11:40,000
Speaker 1: are on their own site. Because you never know where

1080
01:11:40,000 --> 01:11:42,360
Speaker 1: the customer might be. That happens to be all the time.

1081
01:11:42,400 --> 01:11:44,200
Speaker 1: I tell people to the Southwest, I didn't know well

1082
01:11:44,240 --> 01:11:46,600
Speaker 1: because it wasn't on Orbits and it wasn't on Expedia.

1083
01:11:47,439 --> 01:11:51,800
Speaker 1: It's like a buddy A Biden told me the story

1084
01:11:51,920 --> 01:11:56,600
Speaker 1: about uh to Me and Costco and how to Me

1085
01:11:56,760 --> 01:11:59,360
Speaker 1: said they would never ever put their product in Costco.

1086
01:12:00,000 --> 01:12:03,320
Speaker 1: They had a two thousand and eight they had a

1087
01:12:03,360 --> 01:12:06,599
Speaker 1: bunch of orders they couldn't get rid of. Called Costco

1088
01:12:06,640 --> 01:12:09,040
Speaker 1: and said you might taken some of it, and Costco said,

1089
01:12:09,160 --> 01:12:12,599
Speaker 1: how much do you have? We'll take it all. Guess

1090
01:12:12,640 --> 01:12:15,479
Speaker 1: who sells more to me than anybody else today? And

1091
01:12:15,640 --> 01:12:17,639
Speaker 1: I think to me just made a deal with Amazon,

1092
01:12:17,800 --> 01:12:21,719
Speaker 1: to one of those companies. Of course, otherwise you're putting

1093
01:12:21,720 --> 01:12:25,160
Speaker 1: yourself out of business. How about premium ticketing? Anything we

1094
01:12:25,280 --> 01:12:29,000
Speaker 1: haven't covered here well previously. Listen, here's what I think. Okay,

1095
01:12:29,160 --> 01:12:31,479
Speaker 1: it's because everybody gets really confused. So there's a couple

1096
01:12:31,520 --> 01:12:34,120
Speaker 1: of ways to look at this real simply, there's primary

1097
01:12:34,280 --> 01:12:39,920
Speaker 1: and their secondary. Okay, primary to me means and I'll

1098
01:12:40,040 --> 01:12:43,400
Speaker 1: use an old analogy, but what prints out on the

1099
01:12:43,479 --> 01:12:47,519
Speaker 1: ticket is what they paid. In other words, I have

1100
01:12:47,720 --> 01:12:50,160
Speaker 1: never in my life. I have never scalped a ticket

1101
01:12:50,200 --> 01:12:54,080
Speaker 1: of my life. I've never sold a hundred ticket that

1102
01:12:54,120 --> 01:12:57,599
Speaker 1: says a hundred dollars on it to somebody for five dollars.

1103
01:12:58,479 --> 01:13:02,720
Speaker 1: I have sold five tickets and they say five. I

1104
01:13:02,840 --> 01:13:07,439
Speaker 1: have sold packages, and those packages might be fifteen hundred

1105
01:13:07,479 --> 01:13:12,280
Speaker 1: dollars and include a five ticket, but they explain that. So,

1106
01:13:12,439 --> 01:13:16,479
Speaker 1: in other words, our responsibilities to keep things in the

1107
01:13:16,600 --> 01:13:21,680
Speaker 1: primary sale and keep things out of quote the secondary market. Now,

1108
01:13:21,960 --> 01:13:25,720
Speaker 1: secondary market always wanted to exist, you know, but I

1109
01:13:25,760 --> 01:13:29,519
Speaker 1: don't want them taking the lift as they have been

1110
01:13:29,600 --> 01:13:33,320
Speaker 1: for the last decade. I'm fine with them taking ta

1111
01:13:33,439 --> 01:13:37,240
Speaker 1: Then they're my orbits, got you, Okay, So how do

1112
01:13:37,320 --> 01:13:43,320
Speaker 1: you decide to walk us through the process of premium ticketing. Um,

1113
01:13:45,680 --> 01:13:53,719
Speaker 1: premium ticketing is at a reserved house, preferred locations, preferred roads,

1114
01:13:54,560 --> 01:13:56,880
Speaker 1: live nations, doing it now where you can pay extra

1115
01:13:56,960 --> 01:14:00,120
Speaker 1: to get the aisle. I pist I did come up

1116
01:14:00,120 --> 01:14:06,920
Speaker 1: with that. Um, you know it's uh because we live

1117
01:14:07,000 --> 01:14:10,920
Speaker 1: in the sliced up world today. You can slice it

1118
01:14:11,040 --> 01:14:14,840
Speaker 1: up and you can take little I mean, I haven't

1119
01:14:14,920 --> 01:14:18,000
Speaker 1: seen it yet, but I was told that you could

1120
01:14:18,040 --> 01:14:23,280
Speaker 1: buy seats sitting at a cocktail table on the stage

1121
01:14:23,320 --> 01:14:30,000
Speaker 1: at Lady Gaga's she does her jazz. And I'm like, okay,

1122
01:14:30,960 --> 01:14:33,880
Speaker 1: that's what premium ticketing is. Okay. So if you have

1123
01:14:33,920 --> 01:14:35,839
Speaker 1: a show, if we get the stones with the dynamic,

1124
01:14:36,280 --> 01:14:38,960
Speaker 1: how many you were in an arena? How many tickets

1125
01:14:39,000 --> 01:14:42,560
Speaker 1: do you use for premium ticketing? It varies, you know,

1126
01:14:42,720 --> 01:14:45,200
Speaker 1: obviously it's gonna be more your majors. It could be

1127
01:14:46,560 --> 01:14:52,599
Speaker 1: how much should it be? It's probably running about well

1128
01:14:52,640 --> 01:14:54,679
Speaker 1: for us. I'm trying to run as hive a percentage

1129
01:14:54,720 --> 01:14:59,200
Speaker 1: of that as I can five inventory. I hope eventually

1130
01:14:59,640 --> 01:15:02,439
Speaker 1: we are in looking at our entire inventory in that

1131
01:15:02,560 --> 01:15:08,200
Speaker 1: way because we're capable of it. Okay, So um uh

1132
01:15:09,520 --> 01:15:15,360
Speaker 1: pets on the artists and the pets odd obviously the

1133
01:15:15,560 --> 01:15:20,200
Speaker 1: demand okay, how with the scarcity is going to be okay?

1134
01:15:21,280 --> 01:15:26,960
Speaker 1: And at what areas also could we diedabatically lift? Okay?

1135
01:15:27,640 --> 01:15:29,880
Speaker 1: In other words, we all know the front row of

1136
01:15:30,000 --> 01:15:35,599
Speaker 1: any balcony anywhere, it's usually a pretty cool seat, right,

1137
01:15:35,800 --> 01:15:38,120
Speaker 1: I mean like the front row the Dodgers, a front

1138
01:15:38,200 --> 01:15:42,240
Speaker 1: row of the first balcony Dodgers cap. It's a great seat, right. Okay,

1139
01:15:42,360 --> 01:15:45,720
Speaker 1: So we're applying that now, a lot of that just

1140
01:15:45,880 --> 01:15:53,240
Speaker 1: because we can so. But premium or platinum as it's

1141
01:15:53,320 --> 01:15:58,000
Speaker 1: called on Ticketmasters is about the more special. It's like

1142
01:15:59,040 --> 01:16:03,439
Speaker 1: you've got great car, gold card, platom card and the

1143
01:16:03,520 --> 01:16:08,479
Speaker 1: black one, right, So it's the same thing. It's first class,

1144
01:16:08,680 --> 01:16:12,760
Speaker 1: it's business class. It's a one term sweep. It's a

1145
01:16:12,840 --> 01:16:16,080
Speaker 1: one better sweet with a balcony. Okay, But do the

1146
01:16:16,200 --> 01:16:21,479
Speaker 1: perks matter? People just buying the tickets? Uh? I think

1147
01:16:21,520 --> 01:16:25,080
Speaker 1: it used to be, honestly, just the tickets of the location.

1148
01:16:26,160 --> 01:16:28,920
Speaker 1: Where does it sounds? I think everybody's really getting into

1149
01:16:28,960 --> 01:16:31,800
Speaker 1: the perks. Tell us some of the perks you've used.

1150
01:16:32,000 --> 01:16:37,720
Speaker 1: Oh god, I think the greatest perk was and continues

1151
01:16:37,800 --> 01:16:40,559
Speaker 1: to this day, that Shelley started with the Paul McCarty

1152
01:16:40,640 --> 01:16:48,000
Speaker 1: sound check package. I bought what myself get to sit

1153
01:16:48,040 --> 01:16:49,840
Speaker 1: and watch Paul McCarty to do a sound check for

1154
01:16:49,920 --> 01:16:52,479
Speaker 1: an hour. He acts back right right, all right, right

1155
01:16:52,600 --> 01:16:56,160
Speaker 1: right right right, and that you get an amazing seat.

1156
01:16:56,439 --> 01:17:00,320
Speaker 1: I bought two. I mean, you know, I mean it's

1157
01:17:00,360 --> 01:17:08,599
Speaker 1: a great experience. Okay, So um, I think kids today

1158
01:17:09,840 --> 01:17:14,720
Speaker 1: are bored to that experienced stuff. We are we think

1159
01:17:14,760 --> 01:17:17,720
Speaker 1: of experiences because we're old parts. We think of these

1160
01:17:17,800 --> 01:17:24,560
Speaker 1: experiences like like paying for first class. Okay, capture experiences,

1161
01:17:24,640 --> 01:17:28,320
Speaker 1: but capture it so everybody could capture it. That's where

1162
01:17:28,360 --> 01:17:33,160
Speaker 1: you make the money. Now switching gears again, we have

1163
01:17:33,240 --> 01:17:37,759
Speaker 1: an endless issue with the ticketmaster fees. Ticketing fees. Public

1164
01:17:37,800 --> 01:17:42,000
Speaker 1: hates them. StubHub included them and their business went back down,

1165
01:17:42,240 --> 01:17:44,880
Speaker 1: and they would what's the future of the ticketing fee?

1166
01:17:45,560 --> 01:17:55,519
Speaker 1: Mm hmm, gotten way up there? Um, okay, what is it?

1167
01:17:56,840 --> 01:18:02,200
Speaker 1: We all now know it costs nowhere near that amount

1168
01:18:02,280 --> 01:18:05,360
Speaker 1: of money to sell at it. Okay, I mean we

1169
01:18:05,479 --> 01:18:09,280
Speaker 1: know that. Really, Come on, you're not even making anything now, okay,

1170
01:18:09,960 --> 01:18:14,560
Speaker 1: everything electronic? All right? Yes, I believe somebody should be

1171
01:18:14,560 --> 01:18:18,240
Speaker 1: able to make a profit at what they do. But

1172
01:18:18,360 --> 01:18:25,599
Speaker 1: I think by adding charges, creating charges, increasing charges, putting

1173
01:18:25,720 --> 01:18:28,240
Speaker 1: things on top, as they call it, Oh, push it

1174
01:18:28,320 --> 01:18:30,479
Speaker 1: on top, put the credit card charge up on top,

1175
01:18:30,520 --> 01:18:35,639
Speaker 1: and all of that you hurt of your product. Okay,

1176
01:18:35,960 --> 01:18:40,120
Speaker 1: because at the end of the day, you know, who

1177
01:18:40,200 --> 01:18:43,559
Speaker 1: are you fooling if you if if you say selling

1178
01:18:43,640 --> 01:18:45,519
Speaker 1: my tickets for a hundred dollars, but when the person

1179
01:18:45,640 --> 01:18:49,479
Speaker 1: shows up, they're paying a hundred. Trust me, the guy

1180
01:18:49,479 --> 01:18:52,479
Speaker 1: who paid a hundred forty five paid a hundred forty five.

1181
01:18:53,920 --> 01:18:55,600
Speaker 1: It's the other guy who thinks the only sold it

1182
01:18:55,640 --> 01:18:59,760
Speaker 1: for a hundred rightly sold tickets for a hundred dollars. Yeah,

1183
01:18:59,800 --> 01:19:02,519
Speaker 1: but he's playing on or fifty by the time all

1184
01:19:02,560 --> 01:19:07,120
Speaker 1: the charges are on top. Again, I think transparency is

1185
01:19:07,160 --> 01:19:11,040
Speaker 1: going to kill a lot of that, you know, I mean.

1186
01:19:11,320 --> 01:19:15,519
Speaker 1: And there's nothing wrong with choices, okay, Like you know,

1187
01:19:15,680 --> 01:19:20,120
Speaker 1: you want to go online shopping Costco or Amazon. You

1188
01:19:20,200 --> 01:19:24,280
Speaker 1: want the jungle chip, You want the jungle chim delivered tomorrow.

1189
01:19:24,800 --> 01:19:28,240
Speaker 1: You want two guys to set it up. Oh, you

1190
01:19:28,280 --> 01:19:31,920
Speaker 1: can do that for X amount of money. So our

1191
01:19:32,040 --> 01:19:36,760
Speaker 1: business is now capable of doing all these Okay, But

1192
01:19:40,320 --> 01:19:43,360
Speaker 1: it's kind of back of well did you get into music?

1193
01:19:43,439 --> 01:19:47,800
Speaker 1: Business because you wanted to be a computer geek. I

1194
01:19:48,400 --> 01:19:50,439
Speaker 1: I was just reading about that today. They were reviewing

1195
01:19:50,439 --> 01:19:51,920
Speaker 1: a book in the Wall Street Journal because they were

1196
01:19:51,960 --> 01:19:55,280
Speaker 1: talking about money ball, you know, the scouts as opposed

1197
01:19:55,320 --> 01:19:57,639
Speaker 1: to stats. And no matter what I mean, he says,

1198
01:19:57,680 --> 01:20:00,479
Speaker 1: you know, the facts have to come from somewhere. So

1199
01:20:01,479 --> 01:20:04,120
Speaker 1: I don't know. I mean, this becomes a because you're

1200
01:20:04,439 --> 01:20:06,639
Speaker 1: when you do arena tours. That's the top of the business,

1201
01:20:06,680 --> 01:20:09,439
Speaker 1: arenas and stadiums. And we grew up in an era

1202
01:20:09,520 --> 01:20:12,639
Speaker 1: when the record company supported the clubs, which they certainly

1203
01:20:12,720 --> 01:20:15,200
Speaker 1: don't do anymore. And the clubs don't exist. And I'm

1204
01:20:15,240 --> 01:20:17,120
Speaker 1: talking about a real club for undred fifty people. Now

1205
01:20:17,120 --> 01:20:20,200
Speaker 1: they'll say club. That's not a club, that's a theater

1206
01:20:20,280 --> 01:20:25,360
Speaker 1: of my book. So but uh, you know, the developing

1207
01:20:25,400 --> 01:20:26,960
Speaker 1: acts the other things you talk about in terms of

1208
01:20:27,040 --> 01:20:29,840
Speaker 1: selling tickets to different places, that's another issue where there

1209
01:20:29,840 --> 01:20:31,920
Speaker 1: are acts that sell out arenas that most people never

1210
01:20:32,000 --> 01:20:34,760
Speaker 1: heard of. You know, the message doesn't get out there.

1211
01:20:34,960 --> 01:20:37,280
Speaker 1: Let's stay on the technology for one more minute, though,

1212
01:20:37,880 --> 01:20:42,759
Speaker 1: the paperless. What's the future of that? Oh, it's mobile

1213
01:20:42,800 --> 01:20:48,360
Speaker 1: ticket like so it's so the ticket will be tied

1214
01:20:48,439 --> 01:20:50,960
Speaker 1: to the person who pushed it wanted, Yeah, it's got

1215
01:20:51,040 --> 01:20:55,639
Speaker 1: to be closed by clothes. I mean, just the same

1216
01:20:55,720 --> 01:20:59,880
Speaker 1: way you can't sell your hotel room or somebody else

1217
01:21:00,040 --> 01:21:03,519
Speaker 1: what's the hotel says it's okay or whatever. In other words,

1218
01:21:03,680 --> 01:21:06,040
Speaker 1: what I was making my point about the business rules.

1219
01:21:06,280 --> 01:21:09,240
Speaker 1: Our job is going to be the business rules. I'm

1220
01:21:09,280 --> 01:21:12,040
Speaker 1: not saying what those are today, but I'm just saying

1221
01:21:12,080 --> 01:21:13,760
Speaker 1: that that is good to be what we have to

1222
01:21:13,880 --> 01:21:19,280
Speaker 1: deal with. That makes sense. Okay, So in today's uh,

1223
01:21:20,080 --> 01:21:21,880
Speaker 1: you know, you got into the business. I got into

1224
01:21:21,920 --> 01:21:25,200
Speaker 1: business because music really drove the culture. Music was everything,

1225
01:21:25,840 --> 01:21:29,160
Speaker 1: And despite some younger people saying otherwise, it does even

1226
01:21:29,200 --> 01:21:32,519
Speaker 1: though it's ubiquitous, it doesn't hold the same mind sure,

1227
01:21:32,640 --> 01:21:34,960
Speaker 1: the same place in the mind that it did when

1228
01:21:35,040 --> 01:21:37,599
Speaker 1: you had your transistor radio and your stereo and that's

1229
01:21:37,920 --> 01:21:41,800
Speaker 1: all you had. So obviously you're very excited by the

1230
01:21:41,920 --> 01:21:46,880
Speaker 1: business end of it. Are you still excited by the music? Yeah?

1231
01:21:47,720 --> 01:21:51,120
Speaker 1: But I gotta find what I like? Okay, like because

1232
01:21:51,160 --> 01:21:55,240
Speaker 1: I'm a I'm a contrarian by nature. Okay, I'm not

1233
01:21:55,360 --> 01:21:58,760
Speaker 1: a big I'm not a big hip hop fan. Man,

1234
01:21:58,800 --> 01:22:01,720
Speaker 1: did I love R and B? And when I hear

1235
01:22:01,800 --> 01:22:06,760
Speaker 1: that in it. I love that, okay. Um. I think

1236
01:22:06,800 --> 01:22:09,280
Speaker 1: country is the one that's got a little click track

1237
01:22:09,400 --> 01:22:13,599
Speaker 1: ish myself. Um, it's like they all and that one's

1238
01:22:13,720 --> 01:22:16,920
Speaker 1: sounded a little too much alike to me, And I

1239
01:22:17,000 --> 01:22:19,680
Speaker 1: think there needs to be some branching out there. But

1240
01:22:19,880 --> 01:22:22,479
Speaker 1: then I look for the branching out. Okay. I'm one

1241
01:22:22,520 --> 01:22:27,880
Speaker 1: of those guys who everybody's saying rock and roll is dead.

1242
01:22:27,960 --> 01:22:33,360
Speaker 1: That that energizes me, okay, because I'm the guy who says,

1243
01:22:33,479 --> 01:22:35,960
Speaker 1: you know, the time to buy when you hear about

1244
01:22:36,000 --> 01:22:39,639
Speaker 1: buying gold, that means it's over exactly. I'm a big

1245
01:22:39,720 --> 01:22:42,320
Speaker 1: believer in I'm a country area too. Let's just go

1246
01:22:42,520 --> 01:22:45,040
Speaker 1: You mentioned that you got involved with Coachella, it took

1247
01:22:45,120 --> 01:22:48,240
Speaker 1: three years to ultimately make money. What do you see

1248
01:22:48,280 --> 01:22:51,240
Speaker 1: as a festival business in the health of it or

1249
01:22:51,240 --> 01:22:55,120
Speaker 1: the future of that in America today? There's one side

1250
01:22:55,120 --> 01:22:58,200
Speaker 1: of it I like, okay. But the side I like

1251
01:22:58,520 --> 01:23:01,519
Speaker 1: is the community side, Okay, that they're all going out

1252
01:23:01,720 --> 01:23:06,000
Speaker 1: enjoying the live experience. I don't know if the festivals

1253
01:23:06,080 --> 01:23:13,240
Speaker 1: today are the um the roller rink um what we

1254
01:23:13,360 --> 01:23:16,439
Speaker 1: call them pop shows back in the sixties when when

1255
01:23:16,960 --> 01:23:20,400
Speaker 1: you know you had Buddy Holly and and you know

1256
01:23:20,520 --> 01:23:26,160
Speaker 1: you had multiple acts. Um, it kind of represents that.

1257
01:23:27,600 --> 01:23:33,760
Speaker 1: It does represent this experience thing. Okay, I mean, um,

1258
01:23:35,000 --> 01:23:39,519
Speaker 1: but it'll always it's like anything else. The strong will survive,

1259
01:23:39,680 --> 01:23:44,599
Speaker 1: the week will die. There will be you know, there

1260
01:23:44,640 --> 01:23:47,200
Speaker 1: will be those that look like the bar business, which

1261
01:23:47,320 --> 01:23:50,200
Speaker 1: is you go down the street and buy the dump.

1262
01:23:51,200 --> 01:23:53,639
Speaker 1: You turn it into a hot place. A second it's hot,

1263
01:23:53,800 --> 01:23:55,320
Speaker 1: you sell it. You go down and buy it. So

1264
01:23:55,360 --> 01:23:56,840
Speaker 1: there will be a contingent of guys that go and

1265
01:23:56,960 --> 01:24:01,200
Speaker 1: do that, and there will be the wrong that survived.

1266
01:24:01,600 --> 01:24:04,360
Speaker 1: The ones that I think that will survive though, will

1267
01:24:04,360 --> 01:24:06,599
Speaker 1: be the ones that have a strong community based too.

1268
01:24:08,080 --> 01:24:11,280
Speaker 1: It sounds weird, but I see that more of coming.

1269
01:24:11,400 --> 01:24:18,479
Speaker 1: I see there's more. The festivals carry the greatest social

1270
01:24:18,680 --> 01:24:24,320
Speaker 1: message that we have in our business. Okay, I mean,

1271
01:24:24,400 --> 01:24:28,880
Speaker 1: without talking about the lyrics are the words of a song.

1272
01:24:29,000 --> 01:24:32,280
Speaker 1: But I'm just saying, where else do we have a

1273
01:24:32,320 --> 01:24:37,640
Speaker 1: better communal experience than a festival? Right? Okay? And if

1274
01:24:37,760 --> 01:24:42,080
Speaker 1: we loved it when we were kids, absolutely amenities and

1275
01:24:42,280 --> 01:24:45,720
Speaker 1: and and our concerts were almost festivals anyway because we

1276
01:24:45,800 --> 01:24:49,720
Speaker 1: had jay floors, okay, and and it was a whole

1277
01:24:49,720 --> 01:24:55,320
Speaker 1: Billity Jays ran around, so I that's an important thing

1278
01:24:55,479 --> 01:25:00,639
Speaker 1: to keep live entertainment alive. But then, but then Brian

1279
01:25:00,720 --> 01:25:05,400
Speaker 1: Becker's story and holograms and the selling tickets to Boom

1280
01:25:05,520 --> 01:25:08,040
Speaker 1: is it. Yeah, well certainly the first one. Roy Orbison

1281
01:25:08,120 --> 01:25:12,160
Speaker 1: in the UK did relatively well. So this has been wonderful.

1282
01:25:12,200 --> 01:25:14,400
Speaker 1: We could talk for hours. Anything you didn't come, we

1283
01:25:14,479 --> 01:25:18,880
Speaker 1: didn't cover that. You have to say, oh, um, since

1284
01:25:18,920 --> 01:25:21,320
Speaker 1: we're talking about concerts West, we're talking about Goggle and

1285
01:25:21,360 --> 01:25:25,559
Speaker 1: all of that. Concerts West is Honestly it's about our people.

1286
01:25:26,200 --> 01:25:31,800
Speaker 1: My g and A and is nothing but overheads, mating salaries. Okay, Um.

1287
01:25:32,479 --> 01:25:34,960
Speaker 1: We have the most incredible people who we lived by

1288
01:25:35,040 --> 01:25:39,680
Speaker 1: those lines. I mean the the the ladies and the

1289
01:25:39,840 --> 01:25:43,120
Speaker 1: gents that work at our place. They just love what

1290
01:25:43,240 --> 01:25:46,920
Speaker 1: they're doing. And Paul and is aug Is we could

1291
01:25:47,040 --> 01:25:48,960
Speaker 1: keep having fun to it this we're gonna do it.

1292
01:25:50,160 --> 01:25:53,479
Speaker 1: And corporate wearing a suit stuff always scared. I agree

1293
01:25:53,479 --> 01:25:55,639
Speaker 1: with You've been listening to John Meglin on the Bob

1294
01:25:55,760 --> 01:25:59,240
Speaker 1: Left Sets podcast. You were fantastic job. Thanks for coming.

1295
01:25:59,400 --> 01:25:59,920
Speaker 1: Thanks Bob