WEBVTT - Autumn House

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<v Speaker 1>Carola, She's a queen of talking. He was sown your man.

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<v Speaker 1>She's only yes. Actually you got the snoop on the

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<v Speaker 1>on the ones to side. No one can do with

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<v Speaker 1>clid my Caralam, Carola. No one can do with quiet

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<v Speaker 1>like Carola is timple Carola. Hey, y'all, welcome to Hyper

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<v Speaker 1>Caroline Hobby. I am your host, Caroline Hobby. I know music,

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<v Speaker 1>I know people, and I know the questions do you

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<v Speaker 1>want to ask? So let's get hyper heads up. These

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<v Speaker 1>are adults having adult conversations, so there could be adult content.

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<v Speaker 1>You guys, am so excited. Autumn houses in the house,

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<v Speaker 1>you guys. Autumn is one of the most influential women

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<v Speaker 1>in country music. Works at UMG in A and R,

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<v Speaker 1>which is basically an A and R person, is one

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<v Speaker 1>of the most crucial people the label. They find new artists,

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<v Speaker 1>they discover new talent, get them signed. They work with

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<v Speaker 1>artists on the label. They listen to songs for them,

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<v Speaker 1>they pitch songs of them. They have a close relationship

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<v Speaker 1>with songwriters and publishers in town to hear the hottest

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<v Speaker 1>hit song right when it's written, to get it to

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<v Speaker 1>the act to the artist. It is such a creative

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<v Speaker 1>and important job. And Autumn has been doing it for

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<v Speaker 1>sixteen years. She is such a badass. Her story is amazing.

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<v Speaker 1>I'm so excited here she is. Autumn Health the legend. Legend.

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<v Speaker 1>Somebody sound old, Maybe you are a legend. Well, first off,

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<v Speaker 1>your royalty because you're born into it. Your dad's Jerry House.

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<v Speaker 1>He is the voice of w s i X, the

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<v Speaker 1>biggest radio show and Nashville forever. That's your father. So

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<v Speaker 1>you grew up being around country music, being around artists,

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<v Speaker 1>being in this industry. Did that make you want to

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<v Speaker 1>run for the hills originally? Or stick around and do it?

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<v Speaker 1>That's so funny? Asked that way. Um, I think like

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<v Speaker 1>any child, possibly, uh where you you know. I always

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<v Speaker 1>joked that I never found my dad funny because he

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<v Speaker 1>was my dad, but everyone always always and tell me

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<v Speaker 1>how funny it was, and it was like, oh, he's

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<v Speaker 1>not funny. And then of course as I got older,

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<v Speaker 1>I appreciated how funny he was and is, and um, yeah,

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<v Speaker 1>I went to college in Arizona, and I thought, I

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<v Speaker 1>want to be in the entertainment business, probably not in radio.

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<v Speaker 1>I want to leave Nashville, which is my hometown, and

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<v Speaker 1>go out West and then I met a boy. Oh

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<v Speaker 1>those boys, man, I know. And the boys gone, but

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<v Speaker 1>I stayed in Nashville. And so the boy brought you

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<v Speaker 1>back to Nashville. The boy brought me back to Nashville.

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<v Speaker 1>It was thankful for that boy. Yes in some ways, yes,

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<v Speaker 1>and then some ways, but um, yes, the boy's gone.

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<v Speaker 1>And then I ended up just laying on the couch

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<v Speaker 1>for about three months. This is right after college. And

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<v Speaker 1>my dad said, um, are you going to get a job.

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<v Speaker 1>You might want to get a job. And it occurred

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<v Speaker 1>to me, Wait, I'm in Nashville and this town is amazing,

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<v Speaker 1>and you know, my dad was also a songwriter, so

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<v Speaker 1>it's like, well let me look into this, you know,

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<v Speaker 1>music city, you know, just thriving of different opportunities. I

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<v Speaker 1>started out in management. Oh how was management? Quickly decided

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<v Speaker 1>that probably wasn't going to be my thing. What was

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<v Speaker 1>the turning point? Well? Uh, I worked for mors Nannis

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<v Speaker 1>and Stam Rst was my boss and mentor who I

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<v Speaker 1>just adore. Um. He had Katie Oslin, Donna's summer, David

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<v Speaker 1>Lee Murphy, Minnie McCready, and Laurie Morrigan. It's a full roster.

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<v Speaker 1>And this is of course early nine or mid nineties. Um. Yeah,

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<v Speaker 1>and uh, somebody had FedEx a duck, alive duck to

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<v Speaker 1>Lorie Morgan and something they want to do with the duck,

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<v Speaker 1>and the poor thing came like a FedEx. It was

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<v Speaker 1>in a crate, had been FedEx and it was just

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<v Speaker 1>covered and it was awful. So anyway, and they handed

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<v Speaker 1>off to me, the new girl, like here, take care

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<v Speaker 1>of this, and it was like, is this like normal?

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<v Speaker 1>Was this what happens in management? I really don't think

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<v Speaker 1>I want to take care of you know. So anyway

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<v Speaker 1>I got to go duck to a farm. Duck is fine,

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<v Speaker 1>and um, I just thought this is not my thing.

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<v Speaker 1>So then I found a publishing job and hence that's

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<v Speaker 1>where I Okay, so we're like a song plugger. Originally

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<v Speaker 1>I was an admin, which I feel like every a

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<v Speaker 1>listening to start in the ad the administration division of

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<v Speaker 1>a publishing company. So it was Reba McIntyre's publishing company,

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<v Speaker 1>and um, I just ended up helping the guy that

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<v Speaker 1>did all the paperwork. It was filing all the copyrights

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<v Speaker 1>with the copyright office, processing demos and paying musicians and

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<v Speaker 1>we had eighteen songwriters, so there was a lot of turnover.

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<v Speaker 1>In the nineties, we were just songs were flying up

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<v Speaker 1>the charts and coming down. So we were continually releasing

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<v Speaker 1>songs and having demo sessions and it was a different time.

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<v Speaker 1>And that's all those listening at home. A demo session

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<v Speaker 1>is so in order for the song to make the album.

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<v Speaker 1>It's a very long process for a song to actually

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<v Speaker 1>be on an album. And a song is written in

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<v Speaker 1>the songwriter session and then it's made into a demo,

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<v Speaker 1>which is just like pretty much you hire great musicians

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<v Speaker 1>to bring this song that you wrote, bring it to life.

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<v Speaker 1>And so that's you're listening to demos all the time.

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<v Speaker 1>But then they actually go beyond that and get cut

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<v Speaker 1>in a studio with a producer exactly. So it's kind

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<v Speaker 1>of like a split for what you want it to

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<v Speaker 1>sound like that then today flash fash fasting forward to

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<v Speaker 1>my life in A and R. Now is that I

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<v Speaker 1>listened to those demos and see if it fits the

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<v Speaker 1>artists that I'm listening for, And and then the producer

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<v Speaker 1>will some say copy uh some sort of uh say

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<v Speaker 1>they tweak it to make it sound or fit the

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<v Speaker 1>artists that they're recording the music for. But um, back

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<v Speaker 1>in the nineties and the demo process that was. We

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<v Speaker 1>do it much differently now, but at the time it

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<v Speaker 1>was very standard to have five songs in a demo

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<v Speaker 1>session and and uh we did those daily. So differently

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<v Speaker 1>now because so many people are producing their own demos

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<v Speaker 1>writers producer own demos, yeah, or their track guys that

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<v Speaker 1>are just two tracks in their bedrooms and having co

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<v Speaker 1>writers write lyrics if they don't write lyrics, and it's

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<v Speaker 1>really cut those, you know, the middle guy out quite

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<v Speaker 1>a bit in the in the session world in town

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<v Speaker 1>which demo session players. Yeah, you know, it's hard. It's

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<v Speaker 1>harder business than it used to be. Okay, So I

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<v Speaker 1>ask you a few questions. Just grab a fire on there. No, no,

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<v Speaker 1>no rapid fire. The first thing that comes to mind

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<v Speaker 1>when I say this radio my father truly. Yeah, not

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<v Speaker 1>associate the two. Um what about country music? Love love love, um, happiness,

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<v Speaker 1>Oh my family, and you have two twins, have twins yeah, yeah,

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<v Speaker 1>boy girl, Holland and Willa, which I want to talk

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<v Speaker 1>all about career, being a career mother. Um, celebrity crush

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<v Speaker 1>m hmm. Oh God give me a minute. I've drawn

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<v Speaker 1>a blank. It's one of those I just thought picture

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<v Speaker 1>had been affleck recently, and I kind of thought, good,

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<v Speaker 1>I kind of would like to hang out with him.

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<v Speaker 1>Me scenes, Yeah, you know, I probably would have said

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<v Speaker 1>that a few years ago. But I don't know why

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<v Speaker 1>something piqued my interest kind of. I don't know that

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<v Speaker 1>a little ruged thing going on there. I like I've

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<v Speaker 1>always like been off. Yeah Armageddon, that was for me. Yeah,

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<v Speaker 1>I don't know, welread answered. Probably my husband would be

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<v Speaker 1>like really, but even like, that's not who I would

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<v Speaker 1>for you anyway, Okay, okay, And then if you weren't

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<v Speaker 1>in the music industry, what would you do? Oh, probably

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<v Speaker 1>something in entertainment, but I would I would love to

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<v Speaker 1>be a writer for a sitcom. Really, I know what

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<v Speaker 1>kind of sitcom? Oh fan of the Office, you know,

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<v Speaker 1>stuff like that sort of situation. Yeah, yeah, I just

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<v Speaker 1>thought it's so clever. I'm not that clever by any means,

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<v Speaker 1>but I just think that humor just would be so fun.

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<v Speaker 1>It would just be really like the mind Mindy Kaling

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<v Speaker 1>kind of yeah, totally that it'd be fun. I always

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<v Speaker 1>thought I'd end up in l A, Like I said,

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<v Speaker 1>the boy brought me back here, but um, but I

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<v Speaker 1>thought if I went to l A and that was

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<v Speaker 1>the plan. I was gonna try to weasel my way

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<v Speaker 1>into that sitcom world. I love that or hosting. You'd

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<v Speaker 1>be a great host. Well, you know I interviewed with

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<v Speaker 1>Barbara Walters. Stop. I know. Well I was also Homecoming Queens,

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<v Speaker 1>so let's talk about that first, of course. Yeah, but

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<v Speaker 1>I did when they were interviewed with Barbara, who was

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<v Speaker 1>gone the Motnopolis on the view for a job for

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<v Speaker 1>a job. Yeah, they had let her go, and then

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<v Speaker 1>they did an open calling for people to interview across

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<v Speaker 1>across the nation to interview with you know, Barbara, So

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<v Speaker 1>explain to me what that meaning. Oh my gosh. She

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<v Speaker 1>her office was so high up I'd never seen. We

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<v Speaker 1>were like above the clouds. So you're like waving we were, yeah,

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<v Speaker 1>I mean there were like clouds going by her office. Yeah,

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<v Speaker 1>you can kind of feel the breeze and all these

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<v Speaker 1>little women kind of like that Devil Wears product where

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<v Speaker 1>the women are just coming in and out. And she

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<v Speaker 1>never made contact serious business. I was just fearing. She said,

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<v Speaker 1>did this you know one of these in the kind

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<v Speaker 1>of set on the edge of my seat. And she

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<v Speaker 1>was very sweet, very gracious. What was that interview, Like, um,

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<v Speaker 1>I was so nervous that I I didn't even know

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<v Speaker 1>really what I said. What does she ask you? Um?

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<v Speaker 1>Oh god, I came remember now, but remember her asking

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<v Speaker 1>me something that would shock people? What is it about

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<v Speaker 1>you that would shock people? What is it? I didn't

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<v Speaker 1>even know at the time. I think I made it up.

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<v Speaker 1>It was like, you're Barbara Walters. I'm talking you know.

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<v Speaker 1>Even certain I had a pretty charmed life, nothing would

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<v Speaker 1>be that. You know, although I was arrested in college

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<v Speaker 1>a few times, but a few times, I know, I

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<v Speaker 1>didn't think of that at the time. I probably should

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<v Speaker 1>have said that a few not just one fake I

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<v Speaker 1>D come back from More. I can't go to Arizona

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<v Speaker 1>State without a fake I D. And so yeah, you

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<v Speaker 1>go to jail. Oh yeah, you have spent a night

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<v Speaker 1>and then you know, but it's like that little college

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<v Speaker 1>jail that just you know, they kind of sober you up.

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<v Speaker 1>And that's kind of cool that you've been in jail

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<v Speaker 1>a few times, right, Yeah, you are so street. Yeah.

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<v Speaker 1>The best part of that story, though, is that, um,

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<v Speaker 1>that you're sitting in face to face in Barbara Walters. Oh,

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<v Speaker 1>you know, Diane favorite walked by, and so you're talking

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<v Speaker 1>to Barbara and here comes. I was waiting outside Barbara's

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<v Speaker 1>office and Diane Storya walked by and she was like,

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<v Speaker 1>hello with that voice that's just like butter And I

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<v Speaker 1>was like, oh my god, Hi, So was this before

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<v Speaker 1>you did A and R and all that? This is

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<v Speaker 1>before A and R. Yeah. I just left Reba McIntyre

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<v Speaker 1>to work from an Anna at Maverick Music And so

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<v Speaker 1>I was you Madonna? I met Madonna. She wouldn't know

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<v Speaker 1>me if I fell on her now. But what was

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<v Speaker 1>that like working for her company? Um, we were kind

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<v Speaker 1>of a renegade company of publishers that guy Oseiri, who's

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<v Speaker 1>been her longtime business partner, decided to open up in Nashville.

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<v Speaker 1>So Whitney had opened up in Nashville. Who does bat

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<v Speaker 1>now right? Yes? Yeah, okay, So Whitney opened it and

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<v Speaker 1>we just sort of siphoned off a budget out of

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<v Speaker 1>l A to sign writers and just it was so fun.

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<v Speaker 1>But they did fly us out for the Christmas party

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<v Speaker 1>and I joked that, Um, being in the room with

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<v Speaker 1>Madonna was like looking at the sun. I mean it

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<v Speaker 1>was sort of like, I can't make so you can't

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<v Speaker 1>look right like do you know who you are? Your Madonna? Yeah,

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<v Speaker 1>so she got I think she called me Amber too,

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<v Speaker 1>So I just went with it and we gotta say yes, right, yes,

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<v Speaker 1>you ever happy to be Madonna? Okay, yeah, so that

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<v Speaker 1>was my brush with Madonna. Ya. Wow, you know your

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<v Speaker 1>A and our life is so cool. But pre write

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<v Speaker 1>all this stuff down, remember all the cool you do

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<v Speaker 1>have to write a memoir because Okay, so now we're

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<v Speaker 1>going to get into A and R, which is, to me,

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<v Speaker 1>the most important job in the music business. Where it

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<v Speaker 1>is because it's all about the song. And I love

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<v Speaker 1>I was a song clagger for a couple of years

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<v Speaker 1>and I'd pitched songs to you. I always love coming

0:11:17.920 --> 0:11:20.600
<v Speaker 1>to you because you really truly listen to everything and

0:11:20.640 --> 0:11:23.520
<v Speaker 1>like you give it a very open ear. And I

0:11:23.520 --> 0:11:26.320
<v Speaker 1>feel like A and R. It's it's such an artistry

0:11:26.320 --> 0:11:29.319
<v Speaker 1>in itself because it's all about your ear. Like people

0:11:29.360 --> 0:11:31.840
<v Speaker 1>are coming in and pitching you songs, which means they're

0:11:31.840 --> 0:11:34.160
<v Speaker 1>playing you songs from their writers, like whether they work

0:11:34.160 --> 0:11:37.000
<v Speaker 1>at a publishing company or whether they're artists themselves. They're

0:11:37.040 --> 0:11:40.240
<v Speaker 1>handing you these songs and you listen to them and

0:11:40.280 --> 0:11:42.280
<v Speaker 1>decide if you're going to pass them on, like you're

0:11:42.320 --> 0:11:44.719
<v Speaker 1>the gatekeeper in a lot of ways to like, is

0:11:44.760 --> 0:11:46.240
<v Speaker 1>that song going to make it to a producer? Is

0:11:46.240 --> 0:11:48.000
<v Speaker 1>it going to make it to a manager, to an artist,

0:11:48.040 --> 0:11:50.600
<v Speaker 1>to be heard, to possibly make an album? And I

0:11:50.640 --> 0:11:52.640
<v Speaker 1>told you this when we started. You're the first person

0:11:52.920 --> 0:11:55.040
<v Speaker 1>the impacted me. Really. When I came to Nashville, I

0:11:55.040 --> 0:11:57.800
<v Speaker 1>heard you speak at it. When I went to Belmont,

0:11:57.880 --> 0:11:59.760
<v Speaker 1>I was in school and you came and gave a

0:11:59.800 --> 0:12:02.080
<v Speaker 1>some now and you're like, if you have a backup plan,

0:12:02.600 --> 0:12:04.880
<v Speaker 1>you gotta get out of this business. It's not for you.

0:12:05.080 --> 0:12:07.839
<v Speaker 1>I sounded so smart. I'm not even sure. Uh. And

0:12:07.880 --> 0:12:10.000
<v Speaker 1>it's probably still true today, although I did think about

0:12:10.040 --> 0:12:12.360
<v Speaker 1>that later when you mentioned that, and I thought, what

0:12:12.480 --> 0:12:14.560
<v Speaker 1>would have possessed me to say that. I think, you know,

0:12:15.640 --> 0:12:17.760
<v Speaker 1>I think you're turning, like welve years later, I don't

0:12:17.760 --> 0:12:19.080
<v Speaker 1>really know. I mean now, I think there's so many

0:12:19.080 --> 0:12:21.200
<v Speaker 1>different ways to make a career in the business. But

0:12:21.240 --> 0:12:23.080
<v Speaker 1>you can't go all in with you got to go

0:12:23.120 --> 0:12:25.040
<v Speaker 1>all in. It's it's a hard business. I mean, certainly

0:12:25.040 --> 0:12:27.400
<v Speaker 1>the rejection level is pretty uh, and you're gonna get

0:12:27.400 --> 0:12:30.320
<v Speaker 1>it all different times. Yeah, And I get it just

0:12:30.400 --> 0:12:32.840
<v Speaker 1>in the a r perspective, and that the songs that

0:12:32.880 --> 0:12:35.560
<v Speaker 1>I pitched, I want Keith Urban to respect me. It's

0:12:35.600 --> 0:12:38.360
<v Speaker 1>still mine. You know, I'm pitching those songs in my

0:12:38.360 --> 0:12:41.760
<v Speaker 1>opinion um to him, and so you know the lots

0:12:41.800 --> 0:12:43.839
<v Speaker 1>of reputation that I have to preserve. Yeah, so I

0:12:43.880 --> 0:12:46.200
<v Speaker 1>want to break that down to me. Start with the beginning,

0:12:46.280 --> 0:12:48.520
<v Speaker 1>Like a song walks into your office from a song plugger,

0:12:49.240 --> 0:12:51.560
<v Speaker 1>tell me about the process of listening to songs, and

0:12:51.559 --> 0:12:53.480
<v Speaker 1>then how it actually makes it way to an artist

0:12:53.480 --> 0:12:56.000
<v Speaker 1>like Keith Urban. Well, you work at um G, which

0:12:56.040 --> 0:12:58.160
<v Speaker 1>there's tons of amazing artists there. Yep, we have a

0:12:58.200 --> 0:13:02.920
<v Speaker 1>huge roster um all of your favorites, the demos. I

0:13:02.960 --> 0:13:04.920
<v Speaker 1>probably have about four or five song meetings today, so

0:13:04.920 --> 0:13:08.560
<v Speaker 1>song pluggers representing different catalogs of music and songwriters come in.

0:13:08.720 --> 0:13:10.439
<v Speaker 1>So how many songs are you listening to from each

0:13:10.440 --> 0:13:12.360
<v Speaker 1>firs day? Everyone's kind of got it down to a science.

0:13:12.400 --> 0:13:15.520
<v Speaker 1>Sounds about five or six songs, eight the most, but

0:13:15.679 --> 0:13:18.520
<v Speaker 1>hopefully just five because I had that all day. Never

0:13:18.559 --> 0:13:20.000
<v Speaker 1>mind all those songs that come in that are just

0:13:20.040 --> 0:13:22.520
<v Speaker 1>emailed to me daily. But um, so you're listening to

0:13:22.520 --> 0:13:24.960
<v Speaker 1>what fifty songs a day? At least probably yeah, and

0:13:25.000 --> 0:13:27.079
<v Speaker 1>then um, but you know, listen, I'm not going to

0:13:27.120 --> 0:13:28.920
<v Speaker 1>through the whole song. You pretty much know in the

0:13:29.000 --> 0:13:31.839
<v Speaker 1>first first, so maybe know just based on groove like

0:13:32.200 --> 0:13:34.680
<v Speaker 1>Keith doesn't want it could be tempo Keith want. Do

0:13:34.720 --> 0:13:37.560
<v Speaker 1>you know exactly what he's looking for? Hopefully what happens

0:13:37.559 --> 0:13:39.400
<v Speaker 1>if the song walks in that knocks your socks off,

0:13:39.480 --> 0:13:42.520
<v Speaker 1>that's not what they're looking for. I send it okay, Yeah,

0:13:42.600 --> 0:13:44.400
<v Speaker 1>And sometimes they get mad at me, and sometimes they don't.

0:13:44.440 --> 0:13:45.840
<v Speaker 1>Most of the time they don't. You use your judgment.

0:13:45.880 --> 0:13:47.520
<v Speaker 1>If it's so good to you, you're like, you got

0:13:47.520 --> 0:13:50.680
<v Speaker 1>to hear this. Yeah. Um, So the people walk in

0:13:50.720 --> 0:13:53.079
<v Speaker 1>and play you five listen to those songs. Probably for

0:13:53.200 --> 0:13:54.920
<v Speaker 1>out of all those songs and the song meeting, I'm

0:13:54.960 --> 0:13:59.079
<v Speaker 1>probably gonna like maybe two, maybe two a day, she

0:13:59.160 --> 0:14:01.760
<v Speaker 1>is pretty good. And then try to send those too

0:14:01.920 --> 0:14:04.360
<v Speaker 1>who I think it's appropriate for. So if Luke is listening,

0:14:04.480 --> 0:14:08.079
<v Speaker 1>or Dark's is listening, or Keith, um, I'll just figure

0:14:08.120 --> 0:14:11.760
<v Speaker 1>out if it fits any of them and send it um.

0:14:11.800 --> 0:14:16.559
<v Speaker 1>When I first started seventeen years ago an r for seventeen,

0:14:16.640 --> 0:14:18.880
<v Speaker 1>believe that I would make a miracle in itself. That's

0:14:20.000 --> 0:14:23.200
<v Speaker 1>cred how badass you are, or just I've been hiding

0:14:23.360 --> 0:14:27.560
<v Speaker 1>and nobody knows I'm still there. Whatever, but I um

0:14:28.000 --> 0:14:31.360
<v Speaker 1>I was joked that the difference between me and or

0:14:31.400 --> 0:14:33.920
<v Speaker 1>A and R and publishers was that I had their

0:14:33.920 --> 0:14:37.480
<v Speaker 1>home address. I can mail them the music. Now in

0:14:37.560 --> 0:14:41.760
<v Speaker 1>this day and age, everyone has everyone's email address. So

0:14:42.320 --> 0:14:44.760
<v Speaker 1>I'm pitching the song. The same song could be sent

0:14:44.840 --> 0:14:48.840
<v Speaker 1>from another publisher directly to Keith. So we're all just

0:14:48.880 --> 0:14:51.640
<v Speaker 1>trying to get there first. I'm a glorified song plugger.

0:14:51.720 --> 0:14:55.200
<v Speaker 1>I want songs cut um from my resume, you know,

0:14:55.240 --> 0:14:57.000
<v Speaker 1>And I wanted for that relationship that I have a

0:14:57.040 --> 0:14:59.400
<v Speaker 1>song plugger totally. I want them to bring me the

0:14:59.400 --> 0:15:02.600
<v Speaker 1>best songs. So do you have close relationships with song pluggers?

0:15:02.640 --> 0:15:04.720
<v Speaker 1>I try to Yeah, yeah, do you kind of have?

0:15:04.920 --> 0:15:08.800
<v Speaker 1>Do you form natural like just not? I've been here

0:15:08.840 --> 0:15:11.720
<v Speaker 1>so long. I think just in general, I think in

0:15:11.840 --> 0:15:13.800
<v Speaker 1>life in general. But I want to be friends and

0:15:13.880 --> 0:15:15.360
<v Speaker 1>I want to be friendly, and it's a very friendly

0:15:15.400 --> 0:15:18.080
<v Speaker 1>business if you want it to be. So for these

0:15:18.120 --> 0:15:20.080
<v Speaker 1>people that come in, we talk about our lives and

0:15:20.080 --> 0:15:22.560
<v Speaker 1>our families and what's going on, and then we talk

0:15:22.600 --> 0:15:25.160
<v Speaker 1>about work. In business, and so I think because of that,

0:15:25.240 --> 0:15:28.040
<v Speaker 1>you're gonna foster a relationship that they're going to want

0:15:28.040 --> 0:15:32.240
<v Speaker 1>to bring you those songs or their artists first. So um,

0:15:32.360 --> 0:15:34.960
<v Speaker 1>hopefully that's working in my favor. I don't know, what

0:15:35.160 --> 0:15:37.960
<v Speaker 1>is it like working with artists. Do you have different

0:15:37.960 --> 0:15:40.640
<v Speaker 1>relationships with these artists? Do you have do each artists

0:15:40.680 --> 0:15:43.040
<v Speaker 1>have a different way they like to receive songs or like,

0:15:43.200 --> 0:15:44.640
<v Speaker 1>is there a way to maneuver it where you like

0:15:44.680 --> 0:15:46.240
<v Speaker 1>this would be a more effective way to send it

0:15:46.280 --> 0:15:48.480
<v Speaker 1>at this time and this way always? I think it's

0:15:48.520 --> 0:15:51.760
<v Speaker 1>just based on personality an art form. It is, what's

0:15:51.800 --> 0:15:54.600
<v Speaker 1>just knowing they're yeah, who, how they like to listen,

0:15:54.720 --> 0:15:56.440
<v Speaker 1>when they want to hear, how some people like to

0:15:56.480 --> 0:15:59.480
<v Speaker 1>do send them too many songs. It's all based in

0:16:00.000 --> 0:16:01.360
<v Speaker 1>and how long you're listening. So if they're going to

0:16:01.400 --> 0:16:04.320
<v Speaker 1>cut in October and they started listening in April, what

0:16:04.480 --> 0:16:06.080
<v Speaker 1>is the timing of that to make sure they're not

0:16:06.080 --> 0:16:08.640
<v Speaker 1>sitting with the song's not sitting in their inbox too long? Right?

0:16:08.760 --> 0:16:10.160
<v Speaker 1>Do you kind of want to very busy people in

0:16:10.280 --> 0:16:12.480
<v Speaker 1>it towards the cut date, Like say they're cutting in

0:16:12.520 --> 0:16:14.960
<v Speaker 1>October possibly, but then the publisher may not want to

0:16:14.960 --> 0:16:17.080
<v Speaker 1>wait that long, you know, they all want to get

0:16:17.120 --> 0:16:19.120
<v Speaker 1>the song cut as quickly as possible. I feel like

0:16:19.120 --> 0:16:21.080
<v Speaker 1>people always love a fresh song, something with my want

0:16:21.120 --> 0:16:24.240
<v Speaker 1>to Oh yeah you have so you have like a

0:16:24.640 --> 0:16:27.480
<v Speaker 1>you have a span where people are cutting. But I

0:16:27.520 --> 0:16:29.520
<v Speaker 1>feel like people always like hear the flashing one at

0:16:29.520 --> 0:16:31.120
<v Speaker 1>the end and like go in and they'll have like

0:16:31.160 --> 0:16:32.840
<v Speaker 1>their whole album done, and then here comes one song

0:16:32.920 --> 0:16:35.680
<v Speaker 1>like the week of cutting, and everything gets changed. Well,

0:16:35.880 --> 0:16:39.880
<v Speaker 1>flashing back to my meager beginnings and publishing, we I

0:16:39.960 --> 0:16:43.040
<v Speaker 1>really felt protected the copyright so an artist would write

0:16:43.080 --> 0:16:49.920
<v Speaker 1>the song Head's Carolina Tales California changed my life, huge song,

0:16:50.400 --> 0:16:53.600
<v Speaker 1>and I think we pitched that the first single, one

0:16:53.640 --> 0:16:56.880
<v Speaker 1>of the first that was on that first first I'm

0:16:56.880 --> 0:17:00.320
<v Speaker 1>all right, it was I Think Your w to the

0:17:00.360 --> 0:17:02.880
<v Speaker 1>Pedal and the I Think It's Heads Caroline, and that

0:17:02.960 --> 0:17:05.200
<v Speaker 1>was in her original launch. I can see her dancing

0:17:05.200 --> 0:17:08.240
<v Speaker 1>in the video with the bell bottom pants. Oh yes,

0:17:09.080 --> 0:17:10.359
<v Speaker 1>she was so hot when she came out. I was

0:17:10.400 --> 0:17:13.480
<v Speaker 1>gonna say, I think the art of protecting that song

0:17:13.520 --> 0:17:15.520
<v Speaker 1>and getting it to the right place was fuch more

0:17:15.560 --> 0:17:19.040
<v Speaker 1>important than it is now because of the revenue stream

0:17:19.080 --> 0:17:23.320
<v Speaker 1>has changed so dramatically that it therefore has made we

0:17:23.440 --> 0:17:26.000
<v Speaker 1>just need to get it cut. So if X is

0:17:26.000 --> 0:17:30.000
<v Speaker 1>cutting it before even Luke Brian, we they definitely would

0:17:30.000 --> 0:17:32.640
<v Speaker 1>love Louke Bran cut. My battle is to make sure

0:17:32.640 --> 0:17:34.760
<v Speaker 1>that it doesn't go to X before it goes to

0:17:34.800 --> 0:17:38.960
<v Speaker 1>Luke Brian. Okay, because sometimes even the songwriter or the

0:17:39.000 --> 0:17:41.359
<v Speaker 1>publishers like, listen, what if Luke doesn't end up cutting

0:17:41.400 --> 0:17:43.360
<v Speaker 1>up but this person wants it who's not as big

0:17:43.359 --> 0:17:45.560
<v Speaker 1>as Luke. So we're gonna take the gamble and just

0:17:45.640 --> 0:17:47.560
<v Speaker 1>go with them. But you're like saying, let's hang on

0:17:47.600 --> 0:17:49.919
<v Speaker 1>for Louke. They owned the song, so I can ultimately

0:17:49.920 --> 0:17:53.119
<v Speaker 1>make that decision. Um, But I'm I don't get in

0:17:53.160 --> 0:17:55.480
<v Speaker 1>too many fights that way because we have so many

0:17:55.800 --> 0:17:58.480
<v Speaker 1>heavy hitters on our roster with Luke and Lady A

0:17:58.760 --> 0:18:02.359
<v Speaker 1>and Keith and Urban uh, Derek Spinaley. I mean, the

0:18:02.359 --> 0:18:04.600
<v Speaker 1>list goes on and on that they usually come to

0:18:04.720 --> 0:18:06.520
<v Speaker 1>us first, but there are still a huge artists at

0:18:06.600 --> 0:18:09.080
<v Speaker 1>their labels to Kenny Chesney's and the Tim mccross and

0:18:09.119 --> 0:18:12.320
<v Speaker 1>then you know those are the big copyrights. So is

0:18:12.359 --> 0:18:16.920
<v Speaker 1>it competitive in the in our world? Um? Oh oh yeah,

0:18:16.960 --> 0:18:19.200
<v Speaker 1>I mean there's probably monthly a song that I think

0:18:20.359 --> 0:18:22.800
<v Speaker 1>has Maria Labett. Let that go yet, because if she's

0:18:22.800 --> 0:18:24.800
<v Speaker 1>not gonna cut it, I want it because you and

0:18:24.880 --> 0:18:26.679
<v Speaker 1>that staying on top of it all the time. Do

0:18:26.760 --> 0:18:29.520
<v Speaker 1>you know the hot songs around town that are on hold?

0:18:29.800 --> 0:18:32.479
<v Speaker 1>Those songs go out so fast, and they usually go

0:18:32.480 --> 0:18:34.720
<v Speaker 1>and hold so fast. And when I say go out,

0:18:34.800 --> 0:18:38.119
<v Speaker 1>is that the plugger has sent that I'm in the inbox.

0:18:38.840 --> 0:18:40.879
<v Speaker 1>It's like going It's going to everybody in A and

0:18:40.960 --> 0:18:42.840
<v Speaker 1>R across the city. So when a plugger gets the

0:18:42.920 --> 0:18:45.959
<v Speaker 1>gym opens it first? Who pitches it first? You know

0:18:46.040 --> 0:18:49.560
<v Speaker 1>your song pluggers who have the gold mine writers. And

0:18:49.560 --> 0:18:51.080
<v Speaker 1>when they send you a song, are you opening it

0:18:51.119 --> 0:18:54.119
<v Speaker 1>like right then? To I got one over the weekend.

0:18:54.119 --> 0:18:56.040
<v Speaker 1>Actually okay, we've had a lot of cuts together and

0:18:56.119 --> 0:18:58.080
<v Speaker 1>I thought, m I better stop everything I'm doing. It

0:18:58.080 --> 0:19:00.159
<v Speaker 1>was my kid's birthday party, and I thought, want to

0:19:00.200 --> 0:19:03.240
<v Speaker 1>miss it and this could be something. Yeah, you're on hold.

0:19:03.600 --> 0:19:05.240
<v Speaker 1>And then I I was. I was sitting here to

0:19:05.240 --> 0:19:07.960
<v Speaker 1>stop sign and going to the grocery store, and I thought,

0:19:08.280 --> 0:19:12.160
<v Speaker 1>listening real quick, yep, yeah, and send it right there

0:19:12.160 --> 0:19:14.680
<v Speaker 1>at the stop signed to Keith. So how it heard

0:19:14.760 --> 0:19:16.800
<v Speaker 1>he hasn't hurt it yet. But how do you know

0:19:16.880 --> 0:19:18.280
<v Speaker 1>who you want to send it to? Like what if

0:19:18.280 --> 0:19:20.200
<v Speaker 1>it could kind of go for a couple artists. Um,

0:19:20.240 --> 0:19:23.480
<v Speaker 1>I think I think they actually said play this for Keith.

0:19:23.520 --> 0:19:26.439
<v Speaker 1>They do try to cast okay, so they thought it

0:19:26.480 --> 0:19:28.720
<v Speaker 1>was best for Keith. Um. If I thought it was

0:19:28.760 --> 0:19:31.480
<v Speaker 1>better for Luke, I would at least email the publisher

0:19:31.520 --> 0:19:34.320
<v Speaker 1>back and say let me place this blue first. And

0:19:34.400 --> 0:19:36.640
<v Speaker 1>Luke probably is cutting first, so I think they would

0:19:36.640 --> 0:19:39.399
<v Speaker 1>appreciate that. Um. But in this case, I sent it

0:19:39.440 --> 0:19:42.720
<v Speaker 1>to Keith. Oh my gosh, we'll see. And he's always

0:19:42.720 --> 0:19:44.919
<v Speaker 1>great about getting back to me. He's just great and

0:19:44.960 --> 0:19:47.240
<v Speaker 1>everything in life isn't he really is? He just wins.

0:19:47.320 --> 0:19:49.880
<v Speaker 1>He's just so sweet and so cheerful every time he responds.

0:19:49.920 --> 0:19:52.160
<v Speaker 1>You know, sometimes you just get like past I think,

0:19:53.200 --> 0:19:56.560
<v Speaker 1>at least a smiling face. Nothing. But I loved it

0:19:57.119 --> 0:19:58.920
<v Speaker 1>because it kind of becomes your baby in a way.

0:19:59.359 --> 0:20:02.119
<v Speaker 1>There's a recently, Eric Passley was looking for songs and

0:20:02.119 --> 0:20:04.600
<v Speaker 1>he said, send me all the songs that you have

0:20:04.720 --> 0:20:07.400
<v Speaker 1>loved that you can't get cut. And I thought, well,

0:20:07.400 --> 0:20:09.639
<v Speaker 1>there in lies Maybe the problem with these songs is

0:20:09.680 --> 0:20:12.640
<v Speaker 1>that no one else likes him but me. So there's

0:20:12.640 --> 0:20:14.720
<v Speaker 1>like a whole like you know, file folder of songs

0:20:14.760 --> 0:20:17.040
<v Speaker 1>that I love that no one else seems to love.

0:20:17.400 --> 0:20:18.800
<v Speaker 1>And then I sent him to Eric, and of course

0:20:18.800 --> 0:20:21.520
<v Speaker 1>he didn't like any of them either. So someone's gonna

0:20:21.560 --> 0:20:23.240
<v Speaker 1>love that. Someone's gonna love those songs. I'm gonna get

0:20:23.240 --> 0:20:25.360
<v Speaker 1>this cut. You got to hang on to him like files,

0:20:25.400 --> 0:20:27.439
<v Speaker 1>the automn files. Well, I think it's like anytime you

0:20:27.480 --> 0:20:30.400
<v Speaker 1>listen to a song that resonates with you. Somehow, those

0:20:30.400 --> 0:20:34.200
<v Speaker 1>songs resonate to me and they don't resonate anyone else.

0:20:34.240 --> 0:20:36.840
<v Speaker 1>But maybe tell me your style, your A and R style,

0:20:37.040 --> 0:20:39.080
<v Speaker 1>because I'm sure it's like an artist, you know, as

0:20:39.080 --> 0:20:43.440
<v Speaker 1>an A and R person who's running a big operation

0:20:43.480 --> 0:20:46.159
<v Speaker 1>here picking out songs for artists. Obviously you have your

0:20:46.160 --> 0:20:48.800
<v Speaker 1>own touch. What is your style? What do you look

0:20:48.840 --> 0:20:50.200
<v Speaker 1>for in a song? What do you have to have,

0:20:50.240 --> 0:20:52.560
<v Speaker 1>What do you have to feel to say that song

0:20:52.640 --> 0:20:55.000
<v Speaker 1>is going on? Hold anything that just stops you in

0:20:55.000 --> 0:20:58.680
<v Speaker 1>your tracks like anything, I mean, so many great ones

0:20:58.720 --> 0:21:01.680
<v Speaker 1>like you can't build all always there there. We never

0:21:01.760 --> 0:21:04.960
<v Speaker 1>hear a bad song, never, They're always because these are

0:21:05.280 --> 0:21:08.840
<v Speaker 1>top of the line songwriters and filter them out, there's

0:21:08.880 --> 0:21:11.359
<v Speaker 1>just the one that rises above the rest, which usually

0:21:11.400 --> 0:21:15.040
<v Speaker 1>because of melody. These days, i'd say production, it's probably

0:21:15.040 --> 0:21:17.080
<v Speaker 1>another reason for it to stand out because there's so

0:21:17.080 --> 0:21:21.399
<v Speaker 1>many more. Um what's the word. I think we're taking

0:21:21.400 --> 0:21:26.600
<v Speaker 1>such liberties in country production now that that will stand out. Um.

0:21:26.600 --> 0:21:29.639
<v Speaker 1>And I think the best songs are the ones that

0:21:29.680 --> 0:21:35.879
<v Speaker 1>are so simply written totally, but they say it so differently. Yes,

0:21:36.440 --> 0:21:39.320
<v Speaker 1>it's not a tongue twister, but it's My dad always joked,

0:21:39.359 --> 0:21:42.080
<v Speaker 1>He's like, I know those words. I knew all of

0:21:42.119 --> 0:21:44.760
<v Speaker 1>those words, but I didn't put them together that you know,

0:21:44.760 --> 0:21:47.000
<v Speaker 1>in that way. And I think that's the brilliance of

0:21:47.560 --> 0:21:49.479
<v Speaker 1>some of those songs that I think, I agree with you.

0:21:49.760 --> 0:21:53.760
<v Speaker 1>So simple but so profound. Yeah, exactly, with a great melody. Yeah.

0:21:53.960 --> 0:21:55.680
<v Speaker 1>Just and if you go all those all the time,

0:21:56.080 --> 0:21:58.240
<v Speaker 1>If I could just fill up my inbox with those songs,

0:21:58.280 --> 0:22:00.840
<v Speaker 1>that would I just i'ld be a hero all the time.

0:22:00.960 --> 0:22:03.119
<v Speaker 1>But I guess there's so hard to come by, right,

0:22:03.200 --> 0:22:06.159
<v Speaker 1>Lightning in a ball. Yeah. Do you have songwriters that

0:22:06.160 --> 0:22:08.720
<v Speaker 1>you gravitate towards. We're like, Okay, I hear this songwriter song,

0:22:08.800 --> 0:22:10.879
<v Speaker 1>I know I'm probably at least gonna like it. It

0:22:10.960 --> 0:22:15.400
<v Speaker 1>might not be one that I do know. No revelations here.

0:22:15.400 --> 0:22:18.520
<v Speaker 1>I mean anybody that's a hot songwriter in town. I

0:22:18.520 --> 0:22:22.960
<v Speaker 1>mean you can hear why they're so good Josh Kire Yeah, Um,

0:22:23.240 --> 0:22:28.520
<v Speaker 1>Ashley Gorely, Um, Nicole Claws and Galleon. Yeah, you know

0:22:28.680 --> 0:22:32.560
<v Speaker 1>Ranney classon that that you know why they're so successful. Um.

0:22:33.920 --> 0:22:35.840
<v Speaker 1>But there's a new crop that I'm always kind of

0:22:35.880 --> 0:22:39.159
<v Speaker 1>trying to get in. So you are early on, you

0:22:39.280 --> 0:22:42.479
<v Speaker 1>try to study who's coming up well, Marion Morris um,

0:22:42.520 --> 0:22:44.719
<v Speaker 1>and kind of getting back to your point, Carla Wallace

0:22:44.720 --> 0:22:47.800
<v Speaker 1>and I are very close. She has her publisher, yes,

0:22:47.800 --> 0:22:51.159
<v Speaker 1>a big yellow dog and sort of where the first

0:22:51.680 --> 0:22:54.600
<v Speaker 1>rumblings of Marion. She had signed Maren just straight out

0:22:54.600 --> 0:22:57.720
<v Speaker 1>of Texas and so um, I got to know Marin

0:22:57.840 --> 0:23:00.640
<v Speaker 1>early on and really tried to room that and tried

0:23:00.680 --> 0:23:03.440
<v Speaker 1>to sign her, but my bosses didn't want to sign her.

0:23:03.640 --> 0:23:05.879
<v Speaker 1>So how does that make you feel? Because when another

0:23:05.960 --> 0:23:09.040
<v Speaker 1>huge part of an RFY every new artists. Yeah. So,

0:23:09.320 --> 0:23:11.360
<v Speaker 1>and also it's so hard to have women. But there's

0:23:11.400 --> 0:23:14.040
<v Speaker 1>a whole there's a whole revelations with the woman, the woman,

0:23:14.400 --> 0:23:16.399
<v Speaker 1>the woman wave is coming. I feel like it's happening.

0:23:17.080 --> 0:23:18.800
<v Speaker 1>So you see an artist like mir and Morris, you

0:23:18.840 --> 0:23:20.840
<v Speaker 1>want to sign her? How do you know when you

0:23:20.880 --> 0:23:22.840
<v Speaker 1>want to sign someone? And then what's that process like

0:23:22.880 --> 0:23:24.879
<v Speaker 1>trying to sign them? And then to wrap up with

0:23:24.880 --> 0:23:27.639
<v Speaker 1>what you're talking about? Yeah, well Maren in particular, because

0:23:27.640 --> 0:23:29.280
<v Speaker 1>she was yet I mean I think she moved here

0:23:29.320 --> 0:23:32.359
<v Speaker 1>knowing that she was definitely gonna be a songwriter, and

0:23:32.400 --> 0:23:34.920
<v Speaker 1>then the artist thing was people kept pushing her like, girl,

0:23:34.960 --> 0:23:37.200
<v Speaker 1>you were so good, You've got to maybe think about

0:23:37.200 --> 0:23:39.520
<v Speaker 1>this artist thing. And in that time I was talking

0:23:39.560 --> 0:23:41.520
<v Speaker 1>to her thinking, Okay, if any moment that she makes

0:23:41.520 --> 0:23:44.600
<v Speaker 1>this decision, I'm here, we're hanging out, we're getting to

0:23:44.640 --> 0:23:47.280
<v Speaker 1>know each other, building a relationship. She made that decision,

0:23:48.000 --> 0:23:52.040
<v Speaker 1>I brought her into the label and no one quite

0:23:52.080 --> 0:23:54.760
<v Speaker 1>had the vision that I had. And so does that

0:23:54.800 --> 0:23:58.239
<v Speaker 1>feel so defeating? It is defeating? And um, you know,

0:23:58.280 --> 0:24:00.679
<v Speaker 1>I have to have faith that she's going to end

0:24:00.760 --> 0:24:03.040
<v Speaker 1>up where she needs to be. What everybody believes in, right,

0:24:03.080 --> 0:24:05.440
<v Speaker 1>and so everybody has this and shares the same passion,

0:24:05.800 --> 0:24:07.440
<v Speaker 1>and so she got that where she is. So that's

0:24:07.440 --> 0:24:11.760
<v Speaker 1>what that's what's great. Um. But it's still like it's hard,

0:24:12.760 --> 0:24:14.600
<v Speaker 1>but I did my job. I brought her in. We

0:24:14.680 --> 0:24:18.080
<v Speaker 1>could have had her um, you know, and it's a

0:24:18.080 --> 0:24:20.040
<v Speaker 1>gamble every time we don't know. We don't have a

0:24:20.040 --> 0:24:22.600
<v Speaker 1>crystal ball kind of brought others that have failed to

0:24:22.880 --> 0:24:25.119
<v Speaker 1>Everyone turned Sam Hunt down and then he ended up

0:24:25.119 --> 0:24:27.879
<v Speaker 1>getting signed at UMG and Kphanie Wright saw that and

0:24:28.119 --> 0:24:31.159
<v Speaker 1>so brilliantly said, this guy's a star. And he is clearly.

0:24:31.200 --> 0:24:33.359
<v Speaker 1>When I first met him, I thought, oh my gosh,

0:24:33.359 --> 0:24:37.320
<v Speaker 1>this guy and the music so brilliant and us so different.

0:24:37.359 --> 0:24:39.800
<v Speaker 1>Though it's like he was too scary for people originally,

0:24:39.920 --> 0:24:43.800
<v Speaker 1>I think. And there is this thing um where you

0:24:43.840 --> 0:24:45.919
<v Speaker 1>can't the xs and o's of it, where you can't

0:24:46.680 --> 0:24:49.520
<v Speaker 1>figure out why it works for some and not for others,

0:24:49.520 --> 0:24:52.760
<v Speaker 1>where that would be too scary for some people. For him,

0:24:52.840 --> 0:24:54.919
<v Speaker 1>it just turns into like Limmings where you're just like

0:24:55.600 --> 0:24:59.240
<v Speaker 1>follow Sam Hunt because he's so original, yes, and so good.

0:24:59.359 --> 0:25:02.280
<v Speaker 1>You can't are you with how good he is? Truly? Yeah,

0:25:02.400 --> 0:25:04.879
<v Speaker 1>so that's why it works. How do you Okay? We

0:25:05.000 --> 0:25:07.120
<v Speaker 1>kind of talked about this earlier. This is the frustrating

0:25:07.160 --> 0:25:09.919
<v Speaker 1>part to me because everyone's talented in Nashville and especially

0:25:09.960 --> 0:25:13.000
<v Speaker 1>in and R with all of your history, you know talent,

0:25:13.160 --> 0:25:15.560
<v Speaker 1>and you know when you get excited about someone. So say,

0:25:15.600 --> 0:25:17.720
<v Speaker 1>for instance, you signed two artists at the same time

0:25:18.320 --> 0:25:21.520
<v Speaker 1>and one really takes off, Like one of my favorite

0:25:21.600 --> 0:25:23.439
<v Speaker 1>artists of all times, Kelly Bannon, was signed with you

0:25:23.480 --> 0:25:25.719
<v Speaker 1>guys for a while and she has so much buzzed

0:25:26.000 --> 0:25:28.679
<v Speaker 1>so radio just never really accepted her songs. But then

0:25:28.760 --> 0:25:31.000
<v Speaker 1>same like John Party kind of comes around the same time,

0:25:31.200 --> 0:25:35.520
<v Speaker 1>so good, so talented and radio acceptance. Why does that happen? Like,

0:25:35.720 --> 0:25:38.639
<v Speaker 1>why can't someone get pushed through when they have the

0:25:38.680 --> 0:25:41.880
<v Speaker 1>same support thing happening on the same label and everything's

0:25:41.920 --> 0:25:44.800
<v Speaker 1>the same. We asked that all the time. It makes me.

0:25:44.920 --> 0:25:47.040
<v Speaker 1>It's mad name I know, and I think obviously we'd

0:25:47.040 --> 0:25:48.840
<v Speaker 1>all be geniuses if you knew the answer to that,

0:25:48.880 --> 0:25:51.320
<v Speaker 1>because then we wouldn't let it happen again, right, Um.

0:25:51.880 --> 0:25:55.120
<v Speaker 1>I think part of this job is not to lose

0:25:55.119 --> 0:25:56.840
<v Speaker 1>sight of the fact that these are people's lives and

0:25:56.880 --> 0:25:58.960
<v Speaker 1>these are their dreams, and you're sort of holding that

0:25:59.000 --> 0:26:01.959
<v Speaker 1>in the palm of your hand. So we joked earlier

0:26:02.000 --> 0:26:04.640
<v Speaker 1>is that we never signed people without talent, so they're

0:26:04.640 --> 0:26:08.000
<v Speaker 1>all clearly talented um and I don't know they either

0:26:08.040 --> 0:26:10.040
<v Speaker 1>the stars aligned for some and not for others, because

0:26:10.080 --> 0:26:15.400
<v Speaker 1>they're all I feel particularly at Universal getting just oodles

0:26:15.440 --> 0:26:19.520
<v Speaker 1>amounts of attention and love so great PLC for what

0:26:19.600 --> 0:26:22.399
<v Speaker 1>they need and to make their dream come true. And

0:26:23.000 --> 0:26:26.040
<v Speaker 1>I don't know, some take off and some downt and

0:26:26.119 --> 0:26:29.639
<v Speaker 1>it the frustration on Mayan is so profound. I can

0:26:29.680 --> 0:26:32.840
<v Speaker 1>only imagine how it feels for those artists that it

0:26:32.880 --> 0:26:36.080
<v Speaker 1>doesn't work. And incidentally, one of those is Walker Hayes.

0:26:36.680 --> 0:26:38.720
<v Speaker 1>And you know you have to have the persistence to

0:26:38.800 --> 0:26:41.680
<v Speaker 1>keep coming because maybe it's doing. I know that it works.

0:26:41.680 --> 0:26:45.520
<v Speaker 1>I talk to me about him, his story, he five kids,

0:26:45.880 --> 0:26:50.520
<v Speaker 1>six kids, six kids, kids. Can you believe that? I

0:26:50.520 --> 0:26:52.240
<v Speaker 1>think he was ahead of his time. I think we

0:26:52.359 --> 0:26:55.840
<v Speaker 1>all saw how just talk about talent. I mean it

0:26:55.920 --> 0:27:00.320
<v Speaker 1>just oozes from him. He's so musical, UM, so cute,

0:27:00.560 --> 0:27:03.280
<v Speaker 1>so cute, precious, His wife Laney's adorable, their kids, the

0:27:03.320 --> 0:27:06.840
<v Speaker 1>whole thing. It was just this. His music is lifestyle music.

0:27:06.880 --> 0:27:09.320
<v Speaker 1>I feel like he's like to me, it feels like

0:27:09.359 --> 0:27:12.960
<v Speaker 1>it's Dave Matthews is Jack Johnson, where you know it's

0:27:12.960 --> 0:27:16.359
<v Speaker 1>always going to be that same box of music different

0:27:16.400 --> 0:27:18.280
<v Speaker 1>every time, where you just turn it on and you're

0:27:18.320 --> 0:27:21.119
<v Speaker 1>like hands off, and he was doing that and I

0:27:21.119 --> 0:27:24.720
<v Speaker 1>think we made a great record. Um. He also had

0:27:24.760 --> 0:27:29.000
<v Speaker 1>this funny side where he would write, uh, you know,

0:27:29.040 --> 0:27:31.359
<v Speaker 1>a love song about a pencil, and you would start

0:27:31.359 --> 0:27:32.679
<v Speaker 1>crying and you think, oh my god, how did he

0:27:32.720 --> 0:27:34.320
<v Speaker 1>do that? And then he would write a song about

0:27:34.320 --> 0:27:36.480
<v Speaker 1>pay in the pool, which we were just laughing just

0:27:36.560 --> 0:27:38.800
<v Speaker 1>as hard. Maybe it was a children's album, you know,

0:27:38.880 --> 0:27:41.080
<v Speaker 1>he certainly knows how to make them, so maybe he

0:27:41.080 --> 0:27:43.800
<v Speaker 1>should write for his children. But he could do those

0:27:43.800 --> 0:27:45.440
<v Speaker 1>two sides and I can I don't think he could

0:27:45.440 --> 0:27:48.600
<v Speaker 1>figure out which one to go for. And so somehow

0:27:48.640 --> 0:27:50.960
<v Speaker 1>he's now with the current single I think sort of

0:27:50.960 --> 0:27:53.479
<v Speaker 1>blended the two. Now he back with you us, he's not.

0:27:53.560 --> 0:27:55.760
<v Speaker 1>He's now on monument Let's say, how sweet would that

0:27:55.880 --> 0:27:58.200
<v Speaker 1>be to like divorce and then remarry. It was like

0:27:58.240 --> 0:28:00.080
<v Speaker 1>an amlical. Well, it's so rare that you actual we

0:28:00.119 --> 0:28:02.120
<v Speaker 1>get signed again. I know this town. And so he's

0:28:02.119 --> 0:28:04.040
<v Speaker 1>had a second shot, which is so great. It is

0:28:04.119 --> 0:28:06.919
<v Speaker 1>so exciting, and you know, sometimes honestly, the stars just

0:28:06.920 --> 0:28:08.800
<v Speaker 1>done a line like like you're saying, maybe the timing

0:28:08.880 --> 0:28:12.520
<v Speaker 1>is not right, maybe they're too creative or too clever

0:28:12.680 --> 0:28:14.600
<v Speaker 1>for their own good, or the songs are too deep

0:28:14.680 --> 0:28:17.320
<v Speaker 1>or sucks because I always hate it when like that

0:28:17.359 --> 0:28:19.560
<v Speaker 1>song is just too complicated for the listener, because it

0:28:19.600 --> 0:28:21.560
<v Speaker 1>really does have to be. They were just sort of

0:28:21.640 --> 0:28:24.159
<v Speaker 1>dumbing down and said, doesn't say much for our listener

0:28:24.520 --> 0:28:26.560
<v Speaker 1>if they can't understand it. But I think there is

0:28:26.560 --> 0:28:29.760
<v Speaker 1>a fine line. I mean, our format has parameters, and

0:28:29.800 --> 0:28:31.639
<v Speaker 1>I think at the time, I mean, honestly, he was

0:28:31.720 --> 0:28:35.080
<v Speaker 1>sort of doing dare I make the comparison, but he

0:28:35.119 --> 0:28:38.120
<v Speaker 1>was kind of doing a sam Hunt thing without the

0:28:38.160 --> 0:28:42.120
<v Speaker 1>track and the slick part of sam Um where we

0:28:42.120 --> 0:28:45.280
<v Speaker 1>were kind of like whoa, whoa, whoa, whoa, you do this,

0:28:45.680 --> 0:28:48.160
<v Speaker 1>and he was like, do that, but I also do this,

0:28:48.440 --> 0:28:50.320
<v Speaker 1>And he eventually started going the other way and we

0:28:50.320 --> 0:28:52.320
<v Speaker 1>were we were still signed up for the other brand

0:28:52.840 --> 0:28:54.440
<v Speaker 1>of music. All that to say that he took all

0:28:54.480 --> 0:28:57.920
<v Speaker 1>this time and you know, UM to now finally and

0:28:57.960 --> 0:29:00.320
<v Speaker 1>the formats changed. Yeah, the format is chang age and

0:29:00.320 --> 0:29:02.600
<v Speaker 1>now he can do what he clearly what he wants

0:29:02.600 --> 0:29:04.360
<v Speaker 1>to write. He never gave up, which is freaking He

0:29:04.440 --> 0:29:06.800
<v Speaker 1>never gave up. And you know, in John Party, I

0:29:06.840 --> 0:29:09.400
<v Speaker 1>think you know, he kind of was coming out um

0:29:09.440 --> 0:29:13.200
<v Speaker 1>at the time of Broke Country UM, and to his credit,

0:29:13.240 --> 0:29:15.640
<v Speaker 1>he weathered the Broke Country storm he did and stay

0:29:15.720 --> 0:29:20.000
<v Speaker 1>true to who he is, which is honky tonk country.

0:29:20.560 --> 0:29:23.720
<v Speaker 1>He's so mean, just yeah, modern day honky talk. Do

0:29:23.720 --> 0:29:25.800
<v Speaker 1>you think staying true to who you are ultimately pays off,

0:29:25.800 --> 0:29:27.800
<v Speaker 1>because sometimes there's a lot of pressure to mold. You

0:29:27.840 --> 0:29:30.040
<v Speaker 1>can smell it a mile away. I think if you're

0:29:30.040 --> 0:29:34.360
<v Speaker 1>just chasing a fame, yeah, you know, if it's you know,

0:29:34.800 --> 0:29:38.240
<v Speaker 1>John's case, he was playing in bars at fourteen, Um,

0:29:38.240 --> 0:29:41.280
<v Speaker 1>this is he moved here to do this, and you

0:29:41.280 --> 0:29:43.000
<v Speaker 1>could just sense it like this is the guy that's

0:29:43.320 --> 0:29:45.400
<v Speaker 1>whether he gets a deal or not, he's going to

0:29:45.440 --> 0:29:48.320
<v Speaker 1>be playing for the rest of his life. So does

0:29:48.360 --> 0:29:50.200
<v Speaker 1>A and R like you? As an R, do you

0:29:50.360 --> 0:29:52.960
<v Speaker 1>encourage your artists stay true to themselves because sometimes in

0:29:53.000 --> 0:29:56.560
<v Speaker 1>the label it gets a little you kind of are

0:29:56.920 --> 0:29:59.680
<v Speaker 1>encouraged to mold a little bit within other part departments

0:29:59.680 --> 0:30:02.080
<v Speaker 1>of the You know, how do you feel about that?

0:30:02.200 --> 0:30:05.480
<v Speaker 1>You know, the styling of them, that stuff. I think

0:30:05.520 --> 0:30:08.160
<v Speaker 1>they were pretty good at saying, okay, you you want

0:30:08.200 --> 0:30:10.520
<v Speaker 1>to wear a purple cowboy hat every day? Okay, let's

0:30:10.520 --> 0:30:12.800
<v Speaker 1>talk about that. Um okay, but that you're going to

0:30:12.880 --> 0:30:15.120
<v Speaker 1>now be branded, that will be your thing. That's where

0:30:15.400 --> 0:30:17.520
<v Speaker 1>you know, because as we put you out there, this

0:30:17.560 --> 0:30:19.440
<v Speaker 1>is this is what we're gonna say about you. So

0:30:19.480 --> 0:30:23.200
<v Speaker 1>we've got to make sure that message is um clear.

0:30:23.360 --> 0:30:25.560
<v Speaker 1>It's them, you know. I don't know if we change

0:30:25.600 --> 0:30:28.760
<v Speaker 1>people as much as we help them to realize that

0:30:29.160 --> 0:30:32.080
<v Speaker 1>what we're doing is creating hopefully a long career and

0:30:32.080 --> 0:30:36.120
<v Speaker 1>a part of their authenticity and then help it spand

0:30:36.200 --> 0:30:39.200
<v Speaker 1>upon that maybe yeah, fit into like something a little

0:30:39.200 --> 0:30:42.720
<v Speaker 1>more not polished, but like a little more accessible. I

0:30:42.760 --> 0:30:45.680
<v Speaker 1>think so I think when you know, I signed Dirks

0:30:45.680 --> 0:30:49.560
<v Speaker 1>a thousand years ago now, but he's still the same artist,

0:30:50.440 --> 0:30:53.920
<v Speaker 1>So that means that's him, that's him. But musically he

0:30:54.000 --> 0:30:58.880
<v Speaker 1>has taken some slight detours to stretch. You know, you've

0:30:58.920 --> 0:31:01.320
<v Speaker 1>got to kind of I mean, as an artist, as

0:31:01.360 --> 0:31:03.000
<v Speaker 1>you know, I'm sure do you kind of want to

0:31:03.000 --> 0:31:05.400
<v Speaker 1>try different things. So he's done that, but he hasn't

0:31:05.440 --> 0:31:07.280
<v Speaker 1>gone too far. I mean, he's not doing adium music,

0:31:07.400 --> 0:31:10.080
<v Speaker 1>but but he wants to kind of, you know, push

0:31:10.120 --> 0:31:12.960
<v Speaker 1>his own boundaries a little bit. So, but anybody that

0:31:13.000 --> 0:31:16.360
<v Speaker 1>comes in and I think, mm hmm, you just you

0:31:16.440 --> 0:31:19.040
<v Speaker 1>just want to be you want to make videos, right,

0:31:19.120 --> 0:31:21.800
<v Speaker 1>you want to do this because it's really hard. It

0:31:22.000 --> 0:31:23.840
<v Speaker 1>is like a record deal is actually the easiest part, right,

0:31:23.840 --> 0:31:26.200
<v Speaker 1>that's probably the easiest part. And actually I think Sam

0:31:26.200 --> 0:31:28.120
<v Speaker 1>I'm quoting Sam in an article I didn't even read,

0:31:28.160 --> 0:31:30.080
<v Speaker 1>but somebody had told me that He had said that

0:31:30.200 --> 0:31:32.520
<v Speaker 1>was the shock to the whole part of the business

0:31:32.560 --> 0:31:35.000
<v Speaker 1>was how grueling it can be. So talk to me

0:31:35.080 --> 0:31:36.640
<v Speaker 1>what it's like to be an artist out there, because

0:31:36.680 --> 0:31:39.959
<v Speaker 1>you have firsthand experience it is grilling. Well, it's just

0:31:40.120 --> 0:31:43.120
<v Speaker 1>always joke. Some of my best friends are artists. So

0:31:43.160 --> 0:31:45.760
<v Speaker 1>when we go to dinner, I'm talking about the people

0:31:45.760 --> 0:31:47.520
<v Speaker 1>in my office, and you know, I've got all this

0:31:47.520 --> 0:31:49.360
<v Speaker 1>stuff to talk about, and all they want to talk

0:31:49.360 --> 0:31:52.960
<v Speaker 1>about is they are their office, they are their business.

0:31:52.960 --> 0:31:54.920
<v Speaker 1>So it's a weird and I have a lot more

0:31:55.120 --> 0:31:57.640
<v Speaker 1>empathy because you're being told what your business is all

0:31:57.680 --> 0:32:00.320
<v Speaker 1>the time, all this I can't imagine what that's and

0:32:00.520 --> 0:32:03.320
<v Speaker 1>your business yourself is yourself. I mean, I still have

0:32:03.360 --> 0:32:06.040
<v Speaker 1>a buffer to all that. It's not really me. But

0:32:06.080 --> 0:32:08.400
<v Speaker 1>if you're the artist and you're being told that's why

0:32:08.400 --> 0:32:12.720
<v Speaker 1>all these are so emotional, it's so sensitive because it's

0:32:12.920 --> 0:32:15.200
<v Speaker 1>can you build walls up of your own? Yeah? You know,

0:32:15.280 --> 0:32:18.160
<v Speaker 1>and I think too, with any amount of success, you

0:32:18.200 --> 0:32:21.880
<v Speaker 1>start to you start to push away. And that makes sense, Yeah,

0:32:21.960 --> 0:32:24.480
<v Speaker 1>it really does. Everyone's like, oh that artist stay in office.

0:32:24.520 --> 0:32:27.200
<v Speaker 1>It's like no, people are trying to tell that guy

0:32:27.760 --> 0:32:30.840
<v Speaker 1>do all the time. And then there's the fame level

0:32:30.840 --> 0:32:33.960
<v Speaker 1>of fame where everybody wants you. Everybody wants you, and

0:32:34.000 --> 0:32:35.840
<v Speaker 1>I look at I was at the studio with Luke

0:32:35.880 --> 0:32:38.760
<v Speaker 1>recently and I thought he couldn't be more gracious and

0:32:38.800 --> 0:32:40.760
<v Speaker 1>sweet and gave me a bout bear hug. I get

0:32:40.800 --> 0:32:43.600
<v Speaker 1>just as excited. Oh he's still Luke. He's still the

0:32:43.640 --> 0:32:46.200
<v Speaker 1>good old you know Luke from you know, yeah, teen

0:32:46.240 --> 0:32:49.320
<v Speaker 1>years ago. Um, I thought, like country music does really

0:32:49.360 --> 0:32:52.360
<v Speaker 1>well and everyone's staying humble. Obviously, people become stars and

0:32:52.800 --> 0:32:54.680
<v Speaker 1>change a little. You have to, like we have to.

0:32:55.080 --> 0:32:56.880
<v Speaker 1>But for the most part, yeah, it's you're not going

0:32:56.920 --> 0:32:59.720
<v Speaker 1>to get above your raisin. No, you know, it's it's

0:32:59.760 --> 0:33:03.240
<v Speaker 1>that's the beauty of this market. I think I love that. Yeah,

0:33:03.240 --> 0:33:06.040
<v Speaker 1>it's good. People. Do you have an artist experience that

0:33:06.080 --> 0:33:10.080
<v Speaker 1>you saw them, signed them, grew them, had their album

0:33:10.120 --> 0:33:12.080
<v Speaker 1>come out, and it was a perfect experience where you're like,

0:33:12.440 --> 0:33:14.239
<v Speaker 1>this is everything I could have dreamed of as an

0:33:14.240 --> 0:33:17.680
<v Speaker 1>an rsage Dirks so he was your he was perfect.

0:33:17.760 --> 0:33:19.600
<v Speaker 1>He was I mean, really can't go back. He was

0:33:19.640 --> 0:33:24.880
<v Speaker 1>my first baby. UM signed him, made the record, first single,

0:33:24.880 --> 0:33:28.160
<v Speaker 1>went to number one, and then it just never stopped.

0:33:28.680 --> 0:33:30.840
<v Speaker 1>It just went. Of course, then you expect every experience

0:33:30.880 --> 0:33:34.400
<v Speaker 1>to be like that and then it doesn't anything. Oh okay, Uh,

0:33:34.480 --> 0:33:37.960
<v Speaker 1>let me tell you. Brought Dirk Sin to sign. I did, yep.

0:33:38.240 --> 0:33:40.240
<v Speaker 1>How good does that feel? That when I can claim

0:33:40.240 --> 0:33:42.480
<v Speaker 1>is solely my own? I really that really was like

0:33:42.520 --> 0:33:43.960
<v Speaker 1>jumped up and down and said, you have to give

0:33:43.960 --> 0:33:46.360
<v Speaker 1>me this. Um. I've done that before in other cases

0:33:46.360 --> 0:33:48.560
<v Speaker 1>and it didn't pan out, but Dirk's has fanned out.

0:33:48.600 --> 0:33:51.880
<v Speaker 1>I gotta be honest. But um, you know Larry Willoughby

0:33:51.880 --> 0:33:57.560
<v Speaker 1>and I, oh yeah, Larry, Larry, Um who hired me Capital?

0:33:58.160 --> 0:34:00.240
<v Speaker 1>You know I entered a capital when you were there? Yeah?

0:34:00.280 --> 0:34:03.600
<v Speaker 1>Oh yeah, gosh, yes, I mean just following me around

0:34:03.600 --> 0:34:06.959
<v Speaker 1>for and here we are. This is so strange. Um,

0:34:07.040 --> 0:34:10.520
<v Speaker 1>I'm so proud of you. But Larry and I co signed, really,

0:34:11.080 --> 0:34:13.719
<v Speaker 1>Luke and I think that one too, although it was

0:34:13.760 --> 0:34:15.840
<v Speaker 1>a little got a little kind of hazy there. And

0:34:15.840 --> 0:34:19.680
<v Speaker 1>then he always had hit singles, but they never We

0:34:19.719 --> 0:34:21.160
<v Speaker 1>just knew there was more to him. And then he

0:34:21.200 --> 0:34:23.960
<v Speaker 1>didn't turn around dance move of Country Girls shake it

0:34:24.000 --> 0:34:25.759
<v Speaker 1>for me. So once he busted out his moves and

0:34:25.800 --> 0:34:28.640
<v Speaker 1>then everything change. I remember texting at the moment the

0:34:28.640 --> 0:34:30.840
<v Speaker 1>game change, shaking it. I don't know if he would.

0:34:31.000 --> 0:34:32.400
<v Speaker 1>I think several of us would say that was the

0:34:32.440 --> 0:34:36.640
<v Speaker 1>moment um. That's when it went from fairs and festivals

0:34:37.200 --> 0:34:40.000
<v Speaker 1>and some definitely some headlining shows, but that's where we

0:34:40.000 --> 0:34:42.480
<v Speaker 1>went when he date, when he debuted his dance moves,

0:34:42.520 --> 0:34:44.440
<v Speaker 1>he went what was the c MT Awards, and he

0:34:44.480 --> 0:34:47.520
<v Speaker 1>did country Girl and those girls and he did the

0:34:47.680 --> 0:34:51.160
<v Speaker 1>dot dot dot dot dot dot. And he's so steak

0:34:51.200 --> 0:34:52.719
<v Speaker 1>and cute when he does it, because shaking it. It

0:34:52.760 --> 0:34:54.520
<v Speaker 1>doesn't feel like he would be someone that would just

0:34:54.520 --> 0:34:56.000
<v Speaker 1>shake it all the time, But when he does it,

0:34:56.080 --> 0:34:58.719
<v Speaker 1>you're like, are you the cutest person in the entire world? Cute?

0:34:58.719 --> 0:35:00.560
<v Speaker 1>And I think even guys have to go all right again,

0:35:00.600 --> 0:35:02.320
<v Speaker 1>is he's so cool you can't be mad at for

0:35:02.400 --> 0:35:05.760
<v Speaker 1>shaking it? Oh, he's all boy, He's just I love him,

0:35:05.760 --> 0:35:09.280
<v Speaker 1>sweet adorable boy. Um. But yeah, I texted Carey Uwards

0:35:09.320 --> 0:35:11.160
<v Speaker 1>at night and just said, girl, this is it, this

0:35:11.239 --> 0:35:13.319
<v Speaker 1>is it, this is it's happening. The moves are never

0:35:13.320 --> 0:35:16.879
<v Speaker 1>going away, and she was like, it did. That's so exciting. Yeah,

0:35:16.880 --> 0:35:19.719
<v Speaker 1>that was probably those highlights. Yeah, so let's not talk

0:35:19.719 --> 0:35:21.960
<v Speaker 1>about the failures. But I know, I know I was

0:35:22.000 --> 0:35:23.600
<v Speaker 1>gonna say, is there anyone that bums you out? But

0:35:23.640 --> 0:35:25.600
<v Speaker 1>then I'm probably sad to they all do, the ones

0:35:25.640 --> 0:35:28.080
<v Speaker 1>that don't make it to that place that Kelly Bannon's

0:35:28.120 --> 0:35:30.439
<v Speaker 1>the because you can become friends and you want it

0:35:31.040 --> 0:35:33.799
<v Speaker 1>for them as much and you're just thinking, you know, fire, Yeah,

0:35:33.840 --> 0:35:36.520
<v Speaker 1>it's like why didn't we why didn't this happen? Um

0:35:36.640 --> 0:35:41.239
<v Speaker 1>for you? Um. And the thing is it's the it's

0:35:41.280 --> 0:35:44.640
<v Speaker 1>the journey for everyone because obviously someone as talented as

0:35:44.760 --> 0:35:47.319
<v Speaker 1>like a Kelly Bannon who didn't necessarily make it at

0:35:47.360 --> 0:35:50.279
<v Speaker 1>that particular time in radio, it just makes you have

0:35:50.320 --> 0:35:53.440
<v Speaker 1>to evolve into something else. You know, she's been evolving

0:35:53.560 --> 0:35:57.880
<v Speaker 1>at just picking up by your bootstraps and sort of

0:35:57.960 --> 0:36:00.799
<v Speaker 1>like rolling this into and she's so talented and she's

0:36:00.840 --> 0:36:03.799
<v Speaker 1>so brilliant, so it has to hit and she's will hit,

0:36:03.880 --> 0:36:06.040
<v Speaker 1>she will hit, she will she's going to continue making music.

0:36:06.080 --> 0:36:09.160
<v Speaker 1>She's doing all these other little facets, all these different things.

0:36:08.080 --> 0:36:12.719
<v Speaker 1>And who runs the obviously you know that, but everyone listening.

0:36:12.760 --> 0:36:15.520
<v Speaker 1>He's like one of the biggest booking agencies. So he said,

0:36:15.560 --> 0:36:17.759
<v Speaker 1>if you stick around and you have talent, eventually you

0:36:17.760 --> 0:36:20.560
<v Speaker 1>will make it. I think he's right. Eventually you might

0:36:20.600 --> 0:36:22.480
<v Speaker 1>take twenty years. There's no I mean, Ryan Nunn, it

0:36:22.520 --> 0:36:25.239
<v Speaker 1>took him. Might tell he's forty, you know, of course

0:36:25.239 --> 0:36:28.320
<v Speaker 1>she tells somebody that's already left Nashville. But they're you know, luggage,

0:36:28.360 --> 0:36:30.160
<v Speaker 1>and it's never happened. I think we weren't here long

0:36:30.239 --> 0:36:33.960
<v Speaker 1>enough exactly, right, so they gave up. But um, yeah,

0:36:34.000 --> 0:36:35.400
<v Speaker 1>I think if you if you can just put it in.

0:36:35.520 --> 0:36:37.439
<v Speaker 1>It's hard though, right, it is. I mean, it's it's

0:36:37.560 --> 0:36:40.440
<v Speaker 1>it's defeating in so many ways. It is, particularly I

0:36:40.440 --> 0:36:43.600
<v Speaker 1>think for a lot of those artists come in together,

0:36:43.680 --> 0:36:45.160
<v Speaker 1>the whole other group of artists, and they all kind

0:36:45.160 --> 0:36:47.239
<v Speaker 1>of know each other, right, and then start making it.

0:36:47.360 --> 0:36:50.319
<v Speaker 1>Now they's start dropping back. Yeah, I know, yeah, there's

0:36:50.320 --> 0:36:51.680
<v Speaker 1>a lot of that. You don't want to compare, but

0:36:51.760 --> 0:36:54.279
<v Speaker 1>you can't help that's have your blinders on, right, Oh,

0:36:54.320 --> 0:36:56.280
<v Speaker 1>I guess yeah. I mean, you know, I'm just hiding

0:36:56.280 --> 0:36:59.279
<v Speaker 1>in my little office at Universal, so no one knows, right,

0:37:00.280 --> 0:37:03.560
<v Speaker 1>although most of us we're actually planning a reunion a

0:37:03.560 --> 0:37:05.640
<v Speaker 1>group of us that we're in a pluggers group together,

0:37:05.680 --> 0:37:08.360
<v Speaker 1>a song plugging group where we were all pitching songs,

0:37:08.840 --> 0:37:11.240
<v Speaker 1>and we're all going to get together and just reminisce

0:37:11.280 --> 0:37:13.560
<v Speaker 1>about what we're still in the business after all these years,

0:37:14.160 --> 0:37:16.319
<v Speaker 1>you know, doing it together. So what have you We're

0:37:16.360 --> 0:37:18.480
<v Speaker 1>going to wrap up soon. But what have you noticed

0:37:18.760 --> 0:37:20.880
<v Speaker 1>as some of the biggest changes in the music industry

0:37:20.960 --> 0:37:24.080
<v Speaker 1>over the past decade? They stand out to you? Oh gosh,

0:37:24.160 --> 0:37:27.120
<v Speaker 1>I think anybody would just the streaming services and what's that?

0:37:27.239 --> 0:37:29.040
<v Speaker 1>What that's done? Do you think that's going to turn

0:37:29.080 --> 0:37:32.040
<v Speaker 1>around for the better eventually income revenue? I think so.

0:37:32.160 --> 0:37:35.800
<v Speaker 1>I mean I think in some ways, um, where the

0:37:36.280 --> 0:37:40.600
<v Speaker 1>single streams are, where album sales are down, the single

0:37:40.680 --> 0:37:42.440
<v Speaker 1>streams are sort of picking up a little bit, and

0:37:42.480 --> 0:37:45.320
<v Speaker 1>I think that's going to increase the country formats always

0:37:45.440 --> 0:37:49.440
<v Speaker 1>lags behind and those changes. Um, but I think we've

0:37:49.480 --> 0:37:52.759
<v Speaker 1>all seen kind of seen a significance or a significant

0:37:52.840 --> 0:37:57.480
<v Speaker 1>increase in the last year in particular, um, where some

0:37:57.640 --> 0:38:02.160
<v Speaker 1>artists are having incredible album sales, but they've had huge

0:38:02.239 --> 0:38:04.719
<v Speaker 1>number ones with recurrents that are just still streaming out

0:38:04.760 --> 0:38:08.720
<v Speaker 1>the wazoo, and so those where we didn't have that before.

0:38:09.440 --> 0:38:10.840
<v Speaker 1>You know, they may not be paying. Of course, the

0:38:10.920 --> 0:38:13.120
<v Speaker 1>labels are making the money. The songwriters are. That's a

0:38:13.120 --> 0:38:15.680
<v Speaker 1>whole other time. How the labels are we're getting paid,

0:38:15.760 --> 0:38:20.840
<v Speaker 1>but that that's changing for us, um any other changes.

0:38:21.480 --> 0:38:24.920
<v Speaker 1>You know, I think there's still ways now to become

0:38:24.960 --> 0:38:29.399
<v Speaker 1>an artist. Um. You know, the whole notion of going

0:38:29.440 --> 0:38:32.160
<v Speaker 1>to Spotify first, like without a label, without a label,

0:38:32.800 --> 0:38:37.000
<v Speaker 1>building on YouTube, their YouTube, there's you know, um ways

0:38:37.080 --> 0:38:41.280
<v Speaker 1>to build if you have the know how and maybe

0:38:41.280 --> 0:38:44.120
<v Speaker 1>some financing to figure that out. You know, maybe don't

0:38:44.160 --> 0:38:48.040
<v Speaker 1>need the major record label. You know, it can be done.

0:38:48.080 --> 0:38:50.319
<v Speaker 1>It's been proven to be done in other ways. It has. Yeah,

0:38:50.360 --> 0:38:52.040
<v Speaker 1>I mean, look at it's a chance the wrapper, right,

0:38:52.640 --> 0:38:56.080
<v Speaker 1>so doing it without a label, um now, not to

0:38:56.080 --> 0:38:58.600
<v Speaker 1>say everybody can do that, but yeah, once again at

0:38:58.600 --> 0:39:00.680
<v Speaker 1>the stars, all line and all works. Ye, so much

0:39:00.680 --> 0:39:05.759
<v Speaker 1>of its timing and honestly divine luck obviously having the talent, yeah, yeah,

0:39:05.800 --> 0:39:07.759
<v Speaker 1>and having somebody that believes in you. I mean, you know,

0:39:07.800 --> 0:39:11.800
<v Speaker 1>there's several people at Spotify locally that UM are making

0:39:11.840 --> 0:39:16.040
<v Speaker 1>careers because they're adding those artists to their playlisting and

0:39:16.200 --> 0:39:19.200
<v Speaker 1>you know, building fans and that crazy. But you know,

0:39:19.239 --> 0:39:21.960
<v Speaker 1>we didn't have that years ago, so UM it was

0:39:22.040 --> 0:39:24.440
<v Speaker 1>just the record label that could make you rich or famous.

0:39:24.480 --> 0:39:28.479
<v Speaker 1>And now that that's not true, So probably the better

0:39:28.560 --> 0:39:32.240
<v Speaker 1>changes for the artist, right and really in some ways

0:39:32.480 --> 0:39:34.960
<v Speaker 1>for us because now it's sort of a research field

0:39:35.520 --> 0:39:37.160
<v Speaker 1>for us. So if you're already out there, we can

0:39:37.200 --> 0:39:40.439
<v Speaker 1>already kind of see which which ones are gonna listen

0:39:40.440 --> 0:39:44.400
<v Speaker 1>to totally, totally Yeah. And Sam, you know, hunt Um

0:39:44.560 --> 0:39:46.520
<v Speaker 1>had already been releasing so much music and was on

0:39:46.560 --> 0:39:49.160
<v Speaker 1>the Spotify program before we signed him, so there was

0:39:49.200 --> 0:39:52.000
<v Speaker 1>already a fan base there though. There was already anticipation

0:39:52.080 --> 0:39:54.440
<v Speaker 1>for him, so he used all that to his advantage,

0:39:54.440 --> 0:39:56.359
<v Speaker 1>and of course Spotify put him on that UM they're

0:39:56.680 --> 0:40:01.080
<v Speaker 1>sort of highlighted program and coursie here we are, here

0:40:01.080 --> 0:40:03.640
<v Speaker 1>we are, and here Sam is right doing our stadium

0:40:03.719 --> 0:40:07.719
<v Speaker 1>like our shows, headlining huge tour. Yeah. Okay, so I

0:40:07.719 --> 0:40:10.120
<v Speaker 1>want to also ask you how do you juggle motherhood

0:40:10.160 --> 0:40:12.000
<v Speaker 1>being a career woman in motherhood because you have two

0:40:12.040 --> 0:40:15.480
<v Speaker 1>adorable twins. How and you make everything look so easy.

0:40:15.560 --> 0:40:18.120
<v Speaker 1>You're so beautiful, you're so talented, you juggle it all.

0:40:18.440 --> 0:40:22.160
<v Speaker 1>I came here today. You're kicking ass in your work. Oh,

0:40:23.640 --> 0:40:25.320
<v Speaker 1>raising family? How do you do it? How do you

0:40:25.360 --> 0:40:28.600
<v Speaker 1>find balance? Well, I will say I don't work for monsters,

0:40:28.719 --> 0:40:33.080
<v Speaker 1>and they're all family oriented themselves. And um, I think

0:40:33.080 --> 0:40:36.279
<v Speaker 1>everybody realizes we're These aren't real jobs. I mean, come on,

0:40:36.440 --> 0:40:39.319
<v Speaker 1>we're not you know, out there roof and houses, which

0:40:39.360 --> 0:40:41.680
<v Speaker 1>I think is an actual real job. I can't imagine

0:40:41.680 --> 0:40:44.360
<v Speaker 1>how difficult that is. Um, So we we do have

0:40:44.400 --> 0:40:46.480
<v Speaker 1>the luxury of uh, you know, if I need to

0:40:46.600 --> 0:40:49.799
<v Speaker 1>do rescue the kids from de camp, you know I can.

0:40:50.200 --> 0:40:52.200
<v Speaker 1>But it's it's a it's a you know, I have

0:40:52.239 --> 0:40:55.480
<v Speaker 1>shows at night, my husband is taking over, we have

0:40:55.480 --> 0:40:57.560
<v Speaker 1>a nanny, and my parents are here. It's like anybody

0:40:57.560 --> 0:40:59.799
<v Speaker 1>that's working. So it's a puzzle. It's all every week,

0:41:00.000 --> 0:41:04.719
<v Speaker 1>the different puzzles. Yeah, but I do have such h

0:41:04.800 --> 0:41:07.600
<v Speaker 1>empathy for people that are in positions of work that

0:41:07.800 --> 0:41:10.000
<v Speaker 1>can't just I'm sorry, I can't come in because of

0:41:10.080 --> 0:41:13.160
<v Speaker 1>my kids, blah blah, and you cannot like anybody. I'm

0:41:13.200 --> 0:41:16.239
<v Speaker 1>no hero here, but you make it look easy. You

0:41:16.320 --> 0:41:18.759
<v Speaker 1>do o. Well, it's just I'm exhausted all the time though, right,

0:41:19.280 --> 0:41:21.560
<v Speaker 1>Actually I had to show the other night. I thought, okay,

0:41:21.560 --> 0:41:23.640
<v Speaker 1>put the kids down, make dinner, put the you know,

0:41:23.760 --> 0:41:25.800
<v Speaker 1>it's yeah, we're all doing it so every second, school,

0:41:25.920 --> 0:41:29.479
<v Speaker 1>every much of pretty much. Yeah, And I was like, oh, hey, husband, okay,

0:41:29.480 --> 0:41:32.080
<v Speaker 1>I'm going to bed now. Your husband, though, is so funny.

0:41:32.120 --> 0:41:35.120
<v Speaker 1>You guys are so cute together. Sweet, He's a riot,

0:41:35.200 --> 0:41:38.040
<v Speaker 1>he is. And Johna's laugh all the time. Yeah, I

0:41:38.080 --> 0:41:42.000
<v Speaker 1>think I'm funnier, but actually here it's funny and y'all's kids.

0:41:42.160 --> 0:41:44.319
<v Speaker 1>I saw one Instagram video or something where they were

0:41:44.400 --> 0:41:47.360
<v Speaker 1>doing a whole show and outfits singing with microphones, Like

0:41:47.360 --> 0:41:49.879
<v Speaker 1>where they get that, Yeah, it's all about singing there

0:41:49.920 --> 0:41:52.440
<v Speaker 1>in the making up jokes now which make no sense

0:41:52.440 --> 0:41:55.520
<v Speaker 1>and we all have to fakela. That's hilarious. They make

0:41:55.560 --> 0:41:57.799
<v Speaker 1>no sense, but they get the art of the joke,

0:41:57.880 --> 0:42:01.040
<v Speaker 1>which I think is hilarious that they understand. Like they'll say, mommy,

0:42:01.080 --> 0:42:04.160
<v Speaker 1>why did the mailbox run away from the car. You're like,

0:42:04.280 --> 0:42:06.279
<v Speaker 1>why did the mailbox right away from the car? And

0:42:06.280 --> 0:42:10.480
<v Speaker 1>then they say something that's like, yeah, okay, okay, so

0:42:10.719 --> 0:42:13.560
<v Speaker 1>these are four year old people, but yeah, yeah, but

0:42:13.600 --> 0:42:15.680
<v Speaker 1>my nieces making jokes with no sense at all, and

0:42:15.719 --> 0:42:21.000
<v Speaker 1>I was like, the shows there, it's so think, yeah,

0:42:21.080 --> 0:42:23.719
<v Speaker 1>hell does she she's six? Oh yeah, Well I think

0:42:23.719 --> 0:42:25.480
<v Speaker 1>it's only got to go up from here, right, we're

0:42:25.480 --> 0:42:28.000
<v Speaker 1>actually gonna say something really clever and funny one day.

0:42:28.120 --> 0:42:31.400
<v Speaker 1>I love it, and my husband's encouraging it so well

0:42:31.440 --> 0:42:34.480
<v Speaker 1>with y'all's he's a host and he's hysterical, and you're

0:42:34.560 --> 0:42:36.480
<v Speaker 1>hysterical in town, and so you're bound to have some

0:42:36.520 --> 0:42:38.960
<v Speaker 1>crazy talented kids. It's thrown up. We're just trying to

0:42:39.040 --> 0:42:41.560
<v Speaker 1>keep up with them. Yeah, it's been fine. So I

0:42:41.600 --> 0:42:44.879
<v Speaker 1>like to wrap up with leave your light, So leave

0:42:45.040 --> 0:42:47.879
<v Speaker 1>some inspiration of how you have been inspired or how

0:42:47.920 --> 0:42:50.880
<v Speaker 1>you like to inspire people. Oh my god, all that

0:42:50.920 --> 0:42:54.680
<v Speaker 1>you've seen and lived in your life. Oh my well.

0:42:54.719 --> 0:42:59.719
<v Speaker 1>I think we sort of touched on it maybe, but um,

0:42:59.719 --> 0:43:01.400
<v Speaker 1>I just think you can't let it go to your head.

0:43:01.600 --> 0:43:05.480
<v Speaker 1>I think it's just these It's not we're not saving lives.

0:43:05.880 --> 0:43:08.880
<v Speaker 1>When I have friends with real jol it does save lives. Well,

0:43:08.920 --> 0:43:10.200
<v Speaker 1>I guess you know. It all speaks to us in

0:43:10.200 --> 0:43:13.160
<v Speaker 1>different ways. But um, and I'm more than thankful for it.

0:43:13.160 --> 0:43:16.160
<v Speaker 1>It's been My mom used to joke that if school

0:43:16.200 --> 0:43:18.000
<v Speaker 1>have been set to music, I would have made straight a's,

0:43:18.120 --> 0:43:22.239
<v Speaker 1>But um, that's just been my thing. But um, yeah,

0:43:22.280 --> 0:43:25.600
<v Speaker 1>I just think, you know, don't burn those bridges. Be nice.

0:43:25.880 --> 0:43:28.480
<v Speaker 1>That's it's really I love that, not more. And be

0:43:28.560 --> 0:43:31.800
<v Speaker 1>on time. It's if you can just be on time,

0:43:32.000 --> 0:43:33.600
<v Speaker 1>then the rest of the day should be pretty easy

0:43:33.600 --> 0:43:37.319
<v Speaker 1>after that. Yeah, I'm more amazed than ever the people

0:43:37.320 --> 0:43:40.560
<v Speaker 1>that just can't keep You've probably worked with a lot

0:43:40.560 --> 0:43:44.160
<v Speaker 1>of them, created that creative they don't always follow, was

0:43:44.200 --> 0:43:46.200
<v Speaker 1>it tin It's weird because my watch is ten twenty.

0:43:46.880 --> 0:43:49.480
<v Speaker 1>But yeah, right, but I don't know how inspiring that is.

0:43:49.520 --> 0:43:51.600
<v Speaker 1>But just some I love that in my little world.

0:43:51.600 --> 0:43:52.879
<v Speaker 1>Those are the kind of the things that I think,

0:43:52.880 --> 0:43:56.000
<v Speaker 1>Oh that really makes a difference, you know, those are

0:43:56.000 --> 0:43:59.520
<v Speaker 1>those first impressions. Yeah, and I'm amazing. Thank you, it's

0:43:59.560 --> 0:44:02.359
<v Speaker 1>so far. Thank you so much for joining me. More

0:44:02.400 --> 0:44:04.520
<v Speaker 1>about me. We're done the letter. I know I would

0:44:04.560 --> 0:44:08.680
<v Speaker 1>talk forever. I really lose you to talk about. Yeah,

0:44:08.719 --> 0:44:10.160
<v Speaker 1>I know, I think I was talking so fast in

0:44:10.200 --> 0:44:12.920
<v Speaker 1>the beginning. Hope if anyone's slow it down really just

0:44:13.040 --> 0:44:15.279
<v Speaker 1>to get kind of it's just so much information. You

0:44:15.320 --> 0:44:18.399
<v Speaker 1>are a wealth of knowledge, like you're from. That's why

0:44:18.480 --> 0:44:20.160
<v Speaker 1>I can have a lot to reflect on. You were

0:44:20.200 --> 0:44:21.879
<v Speaker 1>not a hundred. I'll come back and read my journal

0:44:21.960 --> 0:44:24.960
<v Speaker 1>nixt Thank you well, thank you all so much for

0:44:25.040 --> 0:44:28.200
<v Speaker 1>joining me today. I'm hyper killing Hobby podcast with the amazing,

0:44:28.400 --> 0:44:37.799
<v Speaker 1>talented Autumn Ouse. Thank you. It was Autumn not fascinating.

0:44:37.960 --> 0:44:40.920
<v Speaker 1>I love Autum Her story is amazing and her job

0:44:41.040 --> 0:44:43.480
<v Speaker 1>is amazing. It is such a behind the scenes job

0:44:43.520 --> 0:44:46.640
<v Speaker 1>that is so crucial to artists in the discovery of

0:44:46.680 --> 0:44:50.040
<v Speaker 1>new artists, and she is just phenomenal. I loved that interview.

0:44:50.480 --> 0:44:54.640
<v Speaker 1>Next week, you guys, I have the hottest celebrity interior

0:44:54.680 --> 0:44:58.200
<v Speaker 1>designer joining me, April Tomlin. She has done houses. She

0:44:58.400 --> 0:45:02.280
<v Speaker 1>sent houses from Jay sin aal Dean to Florida, Georgia line.

0:45:02.320 --> 0:45:06.360
<v Speaker 1>She does everyone's house in her style is amazing and

0:45:06.440 --> 0:45:09.000
<v Speaker 1>she talks all about her life, her journey, what's like

0:45:09.080 --> 0:45:12.359
<v Speaker 1>to be a celebrity interior design and all of the

0:45:12.400 --> 0:45:14.520
<v Speaker 1>parts that go with it. Cannot wait for y'all to

0:45:14.600 --> 0:45:17.799
<v Speaker 1>hear April Tomlin next week. Make sure to subscribe see

0:45:17.800 --> 0:45:31.719
<v Speaker 1>you then bye