Step behind the curtain with Arden Barnett of Ardenland as he orchestrates the rich symphony of theater management and the vibrant Mississippi music scene. From the historic Ellis Theater to the legendary Duling Hall, Arden unveils the multifaceted role of a music impresario, with a deep dive into the nuances of booking acts, embracing the community's cultural heartbeat, and tailoring experiences that resonate with the soul of Jackson.
The soul of a city can be heard in its music, and in Jackson, it's an anthem that rings out in every chord. Our conversation with Arden explores the city's soulful reputation, where R&B and comfort food meld with the spirit of its people. Trust and quality resonate as keynotes in the art of booking talent, reflecting the community's appetite for authenticity.
With Marty Stuart's influence in the mix, the commitment to preserving musical heritage becomes a tangible part of Philadelphia's Ellis Theater's event strategy, striking a chord with both locals and visitors.
Rounding out this melodic journey, Arden shares the behind-the-scenes tempo of raising the roof for the Congress of Country Music with star-studded fundraising concerts. As cultural celebrations with a cause, these events harmonize the need for financial support with the community's love for live entertainment. Meanwhile, navigating the complexities of Mississippi's music festivals showcases the local talent and logistical finesse that keeps the state's festival scene on beat. Tune in for a masterclass in the art of music management, where every note is played with passion for the community and an ear for excellence.
Submit content, questions, and topics you would like to hear on The County Line to: countylinepodcast@gmail.com ---------------------------------------------------- (0:06)Introduction to Ardenland
(15:57) Jackson's Music and Soul Reputation
(21:43) Fundraising Concerts for Country Music Congress
(26:10) Fundraising and Planning for Ellis Theater
Step behind the curtain with Arden Barnett of Ardenland as he orchestrates the rich symphony of theater management and the vibrant Mississippi music scene. From the historic Ellis Theater to the legendary Duling Hall, Arden unveils the multifaceted role of a music impresario, with a deep dive into the nuances of booking acts, embracing the community's cultural heartbeat, and tailoring experiences that resonate with the soul of Jackson.
The soul of a city can be heard in its music, and in Jackson, it's an anthem that rings out in every chord. Our conversation with Arden explores the city's soulful reputation, where R&B and comfort food meld with the spirit of its people. Trust and quality resonate as keynotes in the art of booking talent, reflecting the community's appetite for authenticity.
With Marty Stuart's influence in the mix, the commitment to preserving musical heritage becomes a tangible part of Philadelphia's Ellis Theater's event strategy, striking a chord with both locals and visitors.
Rounding out this melodic journey, Arden shares the behind-the-scenes tempo of raising the roof for the Congress of Country Music with star-studded fundraising concerts. As cultural celebrations with a cause, these events harmonize the need for financial support with the community's love for live entertainment. Meanwhile, navigating the complexities of Mississippi's music festivals showcases the local talent and logistical finesse that keeps the state's festival scene on beat. Tune in for a masterclass in the art of music management, where every note is played with passion for the community and an ear for excellence.
Submit content, questions, and topics you would like to hear on The County Line to: countylinepodcast@gmail.com ---------------------------------------------------- (0:06)Introduction to Ardenland
(15:57) Jackson's Music and Soul Reputation
(21:43) Fundraising Concerts for Country Music Congress
(26:10) Fundraising and Planning for Ellis Theater
Alright, let's make another run out of Mr Arden Barnett here with Arden Land and we just had a couple of technical difficulties trying to get it kicked off the first time. But we're back. We got the cameras rolling, we got the audio interface going. So, Mr Arden, you were mentioning the management responsibilities that y'all have taken on at the LSDator here in Philadelphia, Mississippi.
Speaker 2:
If you wouldn't mind just shedding a little more light on what that consists of, Well, it's day-to-day operations of the theater and then the marketing of the concerts that we do there, the ticketing of the concerts, the staffing, it's everything. So it's a turnkey operation, Turnkey operation, right. So we were not brought in to just book talent.
Speaker 1:
we were brought in to manage the building yes, what unique opportunities and or challenges have been presented with the Ellis and the booking and management of that facility?
Speaker 2:
Well, we came in to a full season of shows so we have yet to book a show. I mean, we are working on 24 from May forward right now, but so we're facilitating the shows that were already booked in there and just redoing the marketing a little bit. We've made some adjustments on ticket prices and just there are some things that we felt like needed to be done to be a little more consumer friendly and especially for the town of Philadelphia.
Speaker 1:
Yeah, I've noticed the social media presence has increased and there's a different brand, different strategy there. It appears them what was there in the beginning and other parties were managing the facility. But I've seen nothing but good things from a marketing standpoint. Now let's back up a little bit. Arden Land is the management company. Is that correct?
Speaker 2:
Well, so Arden Land is my company and we basically produce concerts, we do festival management and we manage Dueling Hall. Dueling Hall in Jackson is my venue, so we've managed that per se, but we're not really a management company. But when it comes to a theater like the Ellis, which is basically a bigger version of Dueling Hall, we have the experience and the capability to do that.
Speaker 1:
At what point did you take over the Dueling Hall in Jackson.
Speaker 2:
So I started Arden Land in 2011, shortly after I started booking shows on just a show to show basis at Dueling Hall, and about a year I think 2012, I signed a lease and so we've had Dueling Hall since 2012 and be going for another long time yeah, it's really turned into a staple of the music scene in.
Speaker 1:
Mississippi as far as I'm concerned. I mean I was looking at y'all's website last night, at Dueling Hall's website and looking at all the acts that y'all have got coming in just between now and the end of the year and I mean y'all have got something that looks like every week. It's crazy. It's become a meeting place for creatives and a staple for a lot of Mississippi entertainers. So how did Arden Land itself, the company, how did that come about?
Speaker 2:
Well, I mean, I've been doing this business for almost 40 years now.
Speaker 2:
So, in and out, I had got out of the business for a little while and had done several things I was working for SkyGolf and the mapping of golf courses and so on and so forth and they discovered that GPS was a much more efficient way to do this, unless expensive, than sending people out. So, anyway, they shut our department down. Therefore, I lost my job, and that was the end of the year of 2011 or 2010. And I just, you know, you don't get this business out of your blood. You know it's. You know, once you're in it, it's hard to get rid of it. And so I woke up one the morning of, I think, just January 3rd or so, and talked to my wife, heidi, and said, hey, you're cool if I give it a go. And she said, yeah, you know, basically you got. You know you got six months.
Speaker 2:
And you know if it works great, but then you got to find a real job. So, anyway, I went upstairs, opened up the computer, called a couple of agents that I'm close with, and no one had really filled the void in Jackson for the time I'd you know had left.
Speaker 1:
And so there, that was the beginning of it, and what was the extent of your experience in the business prior to starting Arden Land and your your tenure at Skygolf?
Speaker 2:
Well, and in Jackson I booked. When I moved back to Jackson in 1986 from Birmingham I worked for with Malcolm White and so in a book Callum House for eight years in St Patty or today we ran that. I booked and did all the production for Jubilee Jam for eight years so a lot. And before that I was in Birmingham. I worked on the concert committee for UAB and that's that's where it really gets started. And I was in Boise before that and I was in the music business there and that was actually worked. My first concert in 1970, 78 or 79 with Hoyd Aksum was the first show I ever worked.
Speaker 1:
I saw on your website that they the descriptions, along with your staff, came suggestions of albums and music from, from the individuals on your staff. What were, what were some of those albums that they put or that you go go to for you when, when?
Speaker 2:
you need to list us for good music. But I'm a. If I had, you know, one type of music on a desert, you know I would. I would have to go with classical. I mean there's no ifs, ands or buts on that, but you know some of my go-tos. I mean I love old Genesis, the back when Gabriel was Peter Gabriel's with the band, and, and you know all types of jazz. You know miles, full train, all that or just so. But I'm all over the map on music. I mean it's yeah, there's not really. I'd be hard pressed to say. You know, if I had one record, this is what I would do, but yeah.
Speaker 1:
I have found that most music buffs are all over the map, yeah, you know, and they often end up being very well rounded people with interesting perspectives. Because when you take in so many different types of art, inevitably, especially in music, if you take in different types of music, you're getting a, you're getting introduced to a lot of different types of cultures.
Speaker 2:
That's right.
Speaker 1:
Through that and immersing yourselves in that, yourself in that, and so that's what I've found about people who really, really, really, really, really astute in music. You know the musical landscape historically and currently they tend to be very, very well-rounded people. So tonight we've got a legend, a national treasure playing at the LSDater, bobby Rush celebrating his 90th birthday. That's incredible. That's an incredible sequence of events. His birthday is November the 10th, so it's the day of his 90th birthday, and I've not seen Bobby Rush perform in a while, but everything I'm hearing is that he's still alive wire he's still kicking and screaming.
Speaker 2:
I was with Bobby just a few months ago and it's scary. I mean my dad's 90. And yeah, it's just when I watch Bobby I'm thinking about my dad. My dad's still pretty active, but Bobby's got it going on. So a year ago Bobby called me and said I want to do my birthday show at Dueling Hall. So I said, heck, yeah, come on. So we did it and he did a solo show, which I've got. I bet I've done 50 Bobby Rush dates, but I've never done a solo date with Bobby and it was an amazing experience. But we got the full band version tonight with the dancing group. I mean, yeah, it'll be a good time.
Speaker 1:
Have you known Bobby since early in his career.
Speaker 2:
I've known Bobby since, I guess, when I moved back to Jackson. I've known Bobby since, I guess since 86, 87 when I moved back here, and we're good friends and he is the, he is. It was a perfect word. He's a treasure. And he is such a fine gentleman and I don't know of a more caring person in the world. I mean Bobby will go out of his way to do anything for anybody he is. He's a genuine gentleman. I mean, he's just, he's top notch. It doesn't get any better.
Speaker 1:
Well, from his music he has to be, he has to be a good time.
Speaker 1:
He has to be, he has to be a trip. I like one of his earlier songs. I guess it came out in the 80s, right about 85, 86. One monkey can't stop no show.
Speaker 1:
And then here recently a more current Southern soul artist that goes by the name of King George used that line in his song and I'm not sure if you're familiar with Southern soul or not, but they will have these parodies. Oftentimes it'll be a male and a female going back and forth and basically having their own songs but communicating with one another. Bobby recently came out in this year with a what I think is a response to King George's. I think he's keep on rolling and he's saying that one monkey can stop a show. So I like that. I like seeing the dialogue between the elder artists in the genre and the younger artists, because the younger artists, that is one genre that they do a really good job of paying homage to those that have come before them. So seeing him tonight, especially in Philadelphia, mississippi, as a native Philadelphia and Bobby Rush fan, it couldn't get much better than that.
Speaker 2:
It'll be a good time, and it's you know so much. We're losing so many of our elder musicians these days and it's you know it's a little frightening to me. Just, you know there is some crazy great music out there, but you know you think of the way that the music business is now, that everything's one hit wonder. You know there's no real careers built anymore, and you know this. You know you play a stadium date. You know, and you come back you're not playing a stadium again you know it's you know, our idea of a superstar these days is very short lived.
Speaker 2:
I mean, they're, you know, sure, taylor Swift and a few others, but you know it's a little daunting.
Speaker 1:
Why do you think that dynamic has come on?
Speaker 2:
Well, I think a lot of it is simply the One. The internet, you know, everything is. You know, you've the acts that come on board. Now come out with a single. They build that career on the same. They release another single, you know, and it's so homogenized in my, it's just. You know it's the same old thing commercial, commercialized. You know, get it on, put it on TikTok, get it streaming. You know the day of you know, building from the ground up.
Speaker 2:
Building that career, you know, has a lot to. You know everything has changed. I mean, radio is not right what radio used to be. You know you've got the internet now, which has been an amazing thing for the music business because you know we can hear music from hundreds of thousands of new acts that can come out. It's just that, you know you look at an Elton John, you look at a Billy Joel, you look at an, even a U2, you know those acts are. You know they're. When they're gone, they're gone.
Speaker 1:
Yeah.
Speaker 2:
And I don't, you know, you don't you think of Elton John in his career. You can't name another artist that can follow in Elton John's footsteps, for you know, not that there you could, but you know, in that sense, of that superstar, and anyway, I think it's fascinating.
Speaker 1:
Yeah, it's interesting to watch how things evolve over time. Like you mentioned, the internet has just given us access not only to consumer, but the actual producer, the independent artist can get their music out without having to go to, you know, get hooked up with a professional studio. I mean, if you can afford a little bit of equipment, you can afford to at least be heard. And then TikTok is just a. I don't have it. I haven't spent a lot of time on it. I mean, I don't have anything against it, it's just not something that's been in my world, but apparently it is.
Speaker 1:
Things go viral and catch like that in a moment's notice and whereas, like you said, that can change somebody's life overnight. As you said, they used to have to beat the pavement and go, uh, walking up and down stages and uh go into different venues across the region, such as like the Chitlin circuit, for example. Um, and you know they had to make it in the real world, so to speak. But it's become so much more efficient because of the availability of the technology and the accessibility that the average person has to the technology that's required to make the music. Is Jackson, uh, in your mind? Is it the soul city? Is it the king city of soul music in the United States of America?
Speaker 2:
I don't know if I'd go that far, um, I think I think it holds a special place, yes, but I do think that you know you, you know Memphis, you know, or even just the state of Mississippi, you know there, I mean, there's, there's so many other cities between, uh, you know, cleveland and Greenwood, those you know, oxford, there's, there's a lot of other places. Even down on the coast is doing quite a bit too. So I think there's a um, a good home. I, you know again, you know Bobby's there. You know we, we've got a few people, but you know, again, we're, we're losing our, you know, son Thomas, all the. You know we just lost RL, but you know all of you know we're just losing, we're losing our, our soul. Yeah, you know, there there are, there are musicians and there is a very great um music scene. But when it comes to the, you know, soul, I mean we're, we're a city with soul, yes, but uh, you know, I don't. I don't really know how to answer that question, but it.
Speaker 1:
Oh, I say, when we look at uh on a national scale, we look at places like uh Detroit and uh Cleveland Ohio. I think Bobby Womack is from Cleveland Ohio. There are other cities that have uh carry a moniker that they're a soul city, and when I get off the airport, I get off the airplane and Jackson, they've got the mural that says welcome to the city with soul, and so it's obviously a badge of honor that the city wears. I was just curious as to whether or not it stood up across the country in the eyes of uh music venues and uh musicians as holding that uh being highly revered in regards to being a soul city.
Speaker 2:
Yeah, I think that the um a lot of what was done on the city. So the visit Jackson, you know, is basically, uh, referring to not only the music scene but the food scene, the people. It's this, you know heartfelt soul, rather than R and B and soul music.
Speaker 1:
I see, I see that is, uh, that's even greater, yeah, I mean and and truer in a sense. You know, because if you, if you take into account all of those different things, we are definitely very, very soulful. Heck, yeah, very, very soulful.
Speaker 2:
What is the?
Speaker 1:
music scene in your opinion? What's the help of it like in Jackson live music scene?
Speaker 2:
It's good. Yeah, actually it's very good. We've got a thriving local scene. That's that, I think, is probably better than it has been in a long, long time. The attendance in shows has been good.
Speaker 2:
You know we tend to book a lot of music that is not well known, and that's usually. I mean, I've just done that for all my life because I think part of what being a promoter is is sharing new bands, sharing new music, and it is, you know, the whole premise in the last 11 years, for the most part, has been trying to build a trust level with, with the community, that you know, if you come to see a show, that we do it's. You know we use our tagline as we don't book shit bands and but that you can trust that you can come see this show and it's going to be a great show. It may, you know, you may get there and it's not your genre or whatever, but but for what it is, you know we, we ask that you trust, come in, give it a try. I mean, obviously, if you don't like it you leave, happy to give your money back.
Speaker 2:
But but it's more of you know knowing that if you come to a show at Dueling Hall you're going to get a great, you're going to get a good night, and so, and it's it takes a while to build that trust and and and part of our I feel like our mission at the Ellis is the same thing, you know, yes, steve Miller's coming in there went, marcel's, there's some great bands, but but I think part of my, my goal, or my company and the people I work with, that you know our purpose is, and and I know it's Marty's mission to is to to bring in new musicians that are that hold true to the, to the level of commitment to to the arts, and so we, you know we we want people to trust us and come see shows, whether or not they know the name or not, and I think you'll be very pleasantly surprised at what you find.
Speaker 1:
Yeah, have you all booked and released the bookings of any shows yet that y'all have that y'all are prior to coming on, it was already booked, like if you already booked it shows and released tubes coming we have not.
Speaker 2:
So the everything that's owned the books now was previously previously booked. We are actively so we're basically booked through May of next year already of 24 of 24. So we are pursuing acts now that would start in June for the fall for all through the rest of the rest of 2024. And so we will. You know, there'll be a release on on the acts, on how we do that.
Speaker 1:
Yeah, you mentioned Marty Stewart. Of course his mission has that. I'm sure that's been communicated to you. In regards to what he's looking for, what the Congress is looking for in terms of genres or types of artists, is there a prototype? Is there a general mission to consider when booking acts at the LSD?
Speaker 2:
Yeah, and in, marty and I have been friends for quite some time now and you know he I mean, yes, there is a mission, I mean he is his mission is to preserve the legends and preserve, you know, the mute, the country music and hence his collection and everything behind it. But, that said, it's not just country music. I think he hits his and we share that. You know it's music of all types and that it is to bring in and make accessible music to to the city of Philadelphia and the surrounding area and in the state, the country, you know, the world, to make Philadelphia and the Congress and the LSD or somewhere that people want to come see and want to be a part of it. It absolutely starts with the community and you know that's we take that very seriously. But we, I think we've, we're, we have been given a very, very omission, if it's almost like a mission from God, like the blues brother. You know right that that you know that we take very seriously and, yeah, I've said this multiple times on many, many episodes.
Speaker 1:
So forgive me for those of y'all that have heard me say this over and over again, but I'll continue to say it. What Marty Stewart decided to do by bringing that collection back here is phenomenal and says a lot about who he is as a person. Because he did not have to do that. He did not have to come and inevitably deal with a lot of the obstacles I'm sure that that he's encountered with coming to a place that, just being factual, didn't necessarily have the infrastructure in place to make it as easy as possible to get this, you know, get the collection out and encased for the public to view.
Speaker 1:
It seems to me like now that they've got the Ellis open and have for I guess a year now, you know a little over a year. It's obvious there's been contributions and fundraising efforts for the Congress and I know that that will continue moving forward and I wish for people listening in Philadelphia and surrounding areas. Correct me if I'm wrong on this, but it appears to me, for example, like the Dolly show, some of your more high profile shows that if it weren't the Congress of Country Music, philadelphia, mississippi would never get those acts. Those shows, those prices for those tickets are for fundraising purposes. That's the reason why they are so expensive and that is a good thing that we can. You know Marty has a relationship with these people and they agree to come in and do this. And you know, because there's been a lot, there have been a lot of complaints about high ticket prices on these more valuable shows and I believe that's on purpose to, you know, bankroll the Congress of Country Music. Am I way off base there?
Speaker 2:
No, you're spot on. So there are. Steve Miller band that's coming up in December is another example of that. That Steve was one of the first is a friend of Marty's, is was one of the first people to actually make a contribution to the fund for the Congress. So Dolly played two shows in this year and they're both in Philadelphia, mississippi. But those were done specifically to raise money for the Congress. So there will I. That will continue. I mean, there's only one Dolly Parton in this world.
Speaker 1:
Right.
Speaker 2:
And there will only ever be one Dolly Parton. But there are many other artists out there that are on a very high caliber, that that we're visiting with that. But those shows, as Steve Miller, which the tickets are are. They're high, but they are fundraisers, they are not. This is not a concert, it's a 506 seat venue. Steve Miller band plays amphitheaters and arenas, so it's a. It's a it's.
Speaker 1:
Steve is.
Speaker 2:
Steve is coming on as a favor to Marty to raise money for the Congress. So when you see a $200 or $300 ticket for Steve Miller, you're you're about to witness Steve Miller in a 500 seat venue, which is just will be an outer body experience. So I, you know, we part of what we have worked very hard with lately, especially in social media and our email blasts, and so is to make sure that people understand Steve Miller is not, it's not just a concert, this is a fundraiser to raise money for the Congress. Um, actually, McBride, you know, the other great shows that we've got coming in, um, you know, are again friends of friends of Marty, a wine owner, same thing, but at the same time, you know, the ticket prices are not $500.
Speaker 2:
That's not, you know, that's what we're trying to steer away from. We want the shows to be, uh, profitable as as much as possible, but I don't think people understand that. You know profitable profitable at the LS Theater is is not making $100,000. You know it's making a few thousand dollars in this business. It's hard to do anyway. So, um, but we want it to be accessible. But, yes, you can expect bigger shows to come to the LS and tickets to be high, Um, and, but it's for that reason.
Speaker 1:
Yeah, and the matter is, I mean, you've got these, these musical moguls that, like you said, are playing in arenas and stadiums, and then you put them in this 506 seat venue. Well, the fewer seats you have just by supply and demand, the higher your prices are going to be. But the fact of the matter is that there are people who have that amount of money, who are willing to pay for those tickets and that experience, and that's a win-win for everybody.
Speaker 2:
Yes, Especially for Philadelphia in the long run, correct. So so I know that the you know being able to do the outdoor aspect of Dolly to have a more, you know a more lower ticket price and have it open to the public, you know is, you know, I think we'll continue um on some of the people that we're talking to. Yeah, that went over very well.
Speaker 1:
Yeah, that went over very well and I've talked to many people outside of Philadelphia who came in for that and they're like man, that was, I mean, it was hot Seven hails.
Speaker 1:
But you know they said the way that it was set up the stage, the Jumbotron, the vendors, I mean I had a lot of, a lot of people giving compliments and yearning for more, uh, more shows that bring on that type of atmosphere in the outside setting. You'll see that in the coming year and that was, um, you know that's a. That is a very key component in driving that economic progress that we want to see here, the Ellis and the Congress in general, obviously. But when we can have things like that that are that are outside, people live around town, can walk, uh, because we do have a, we have limited parking, but we do have a very walkable downtown area and people like to get out and enjoy that when there are things to do. So, uh, I'll be looking forward to that now. Festivals, annual festivals, things of that nature have any of those ideas been tossed around uh, or talked about that you can disclose?
Speaker 2:
Um, tossed around. Yes, I think, I think for us right now, it's to it's to massage what we've got to work with for the next five months, six months, yeah and really get in place as sustainable and, uh, a place where everybody feels comfortable and and doing business. Um, those, I mean we're always thinking about things to do and and new ideas. Uh, a lot of it is just getting. We're still I mean, we're what five weeks into to this project.
Speaker 1:
Oh, I didn't realize it was that recent.
Speaker 2:
Yeah, it's been like five, maybe six weeks so, and we came in, you know, to a lot and so rebuilding and, and you know, looking at everything that's on the map, what needs to be changed, what needs to be done, that's, that's been first and foremost on our on our plate.
Speaker 1:
Have you had? Have you had much trouble finding staffing for the shows?
Speaker 2:
No, no, it's great Um. So Natalie and Loretta, that are that uh, that are at the Ellis and have been for a while or there, we love them. Yeah, they're great Um, and we've we've got a super staff, um, and you know we're we're looking at doing some things differently. But you know my thing is not to come in and just gut everything. You know we want to be a part of the community. You know we're, we live in Mississippi, we're we're I mean, we're an hour and a half away. But you know it's not like coming in and changing everything up. Our goal is to to use local people whenever and as much as humanly possible is not to to to do what we do and bring in people outsiders.
Speaker 1:
I guess would be the word.
Speaker 2:
We want to do business within the community first. That's first and foremost.
Speaker 1:
So that's well, we understand that. Um, it can sometimes be difficult in small rural places to find just enough people, but just because of the lack of population, yeah, and no other reason.
Speaker 1:
Dr Bynan Jackson, I mean, yeah, I mean it's, yeah, yeah, we're, we're, um, I think it's getting better, I think. But I think the the job situation. I think you know I'm not seeing all the now hiring signs at KFC and Popeyes, you know all your fast food restaurants like right after COVID, but, um, what other venues do you manage? Is it just the Ellis and Dooling Hall?
Speaker 2:
From a management standpoint, yes, um, we, we do the buying, I do the talent buying for the Riley center in Meridian and so on that standpoint we were just, we're basically the talent buyer, um, and work with the work with them, you know, wherever they need us. But but primarily on talent buying, uh, we also do the Sanger theater and and Hattiesburg, we do the um, the convention center down there, the lawn, uh, the impact center on the Gulf Coast we buy talent for, uh, we do a lot of work in Natchez.
Speaker 2:
Um, so yeah, we're all, we have a really full plate.
Speaker 1:
So when, when y'all are booking these acts for these venues, are you calling these agents directly? Uh, do you go to a marketplace? You just rely on contacts that you've made throughout the years. Um, how, how does that look like on a more, uh, granular level, it.
Speaker 2:
it's going to depend some on the building. I mean, for the most part I mean we deal directly, you know with with the agents of the bands, for for sure, and and a lot of this. I'm still working with people. I'm still working with agents that I worked with in 1982 when I was in Birmingham. Uh so, but I would say 80% of the acts that we book the age are brought to us. We don't go out and seek them no-transcript, have a list of people that we're interested in and we'll share it with the agent of that band and then at the same time, say, hey, you know, I've got so, and so coming through town, you know, do you want to book a show with them? So it's so much of it is. It's a who you know thing for sure, and a trust. You know we've 40 years of working in this business and you know, have a lot of friends.
Speaker 1:
So Alabama has got a major concert, country concert in Coleman, alabama. The name of it escapes me, but it happens annually. Tennessee has Bonnaroo right. Louisiana obviously has Jazz Fest. What do we have?
Speaker 2:
Nothing like that Can we? Well, we used to have Jubilee Jam. Obviously was was a big festival from the standpoint of the you know, our population. Cathead Jam is a festival that we produce in Jackson. Yes, that's been growing and it has been growing.
Speaker 1:
That's a good production.
Speaker 2:
Yeah. So you know whether I think Cathead is probably the, the, the festival that I would see growing to a bigger level. I don't know if you know we've had some meetings, you know about having a new city festival, but this they are so expensive to do. I mean, it's just, yeah, it's, it's brutal and you know there are so many ifs when you're doing that with weather you know with you know just everything that goes along with that A ton of risk.
Speaker 2:
Yeah, a ton of risk, a ton of risk. And back in the day, jubilee Jam and all this you know you're that festival was was very much lived on sponsorship and and arts funds and those that money has really dried up. I mean there's there's still some there, but when you're talking about you know, three, four million dollar festival it's, it gets rough real fast.
Speaker 1:
No doubt.
Speaker 2:
So anyway, I think I think we do good shows, and you know we've it's cathead a multi day fest. It's a two day festival.
Speaker 1:
Yes, it was yes Over the past, and is that held at the distillery? It is. I've never been. I'm just seeing pictures and videos.
Speaker 2:
Yeah, it takes place on the grounds of the distillery and we also close off streets around the distillery and pull fence panels out and you know, so it's. You know it's a cool setup, yeah.
Speaker 1:
Yeah, the music scene in Jackson is interesting. Of course, f Jones is always mentioned. Yeah, for those of you that know, you know, and then some other spots that have been. What are some other spots in Jackson that have been live music staples for a while now?
Speaker 2:
Well, Halemals, of course, of course, yeah, martin's, martin's. You know we used to have the subway back in the day. You know F Jones, of course, man, I can't stay up late enough, too old, and or when I do go, it's a week of recovery. Yeah, so yeah, and there's. You know they've come and gone, but you know the Halemals, the, and and Martin's are still thriving. I mean they're still, and Martin's is doing. You know Chris books some great shows in there.
Speaker 1:
So when you look at managing a show right. So just take a tonight show, for example. I'm sure you break down the night into different budgetary items or line items, if you will. What has the most profit margin? Which one of those buckets has? Was it concessions, is it ticket sales merchandise, or is it all kind of lumped in together and about the same?
Speaker 2:
No, it's. I mean it's. It's certainly broken out. You know whether it's an expense or or income. The music business these days is not what it used to be. I mean the as a promoter, you don't make money on ticket sales.
Speaker 2:
I mean it's the ancillaries you know the ban is making 90% of the money. Yeah, and you know so. Bar sales is very important. Yeah, you know concession some, but you know not so much it's really bar and you know. And then you, you get into the different levels. You know where there may be parking, whether it's, you know, bar sponsorship, etc. Etc. So those are the other areas that you really have to, you know, concentrate and build good relationships on and do a good job doing to try and maximize your income.
Speaker 1:
Yeah, you mentioned a couple of different theaters the Ellis, the Sanger, the Riley Center. I think it would be really cool and somebody may have already done this, but I think it'd be really cool if someone did a traverse the state of Mississippi and did a theater documentary. That'd be cool. And, you know, run down the history of some of these older theaters that we have throughout the state that have been either taken care of throughout their lifetime or, like the Ellis, been refurbished, and have a look at all of those, because obviously these towns, a lot of them are dying but they still have those theaters, and I mean Laurel's probably got got one, I'm not sure, but I think that would be a really cool, really cool project.
Speaker 1:
Well, Lee, you got cameras and yeah, I got to get in the car and go.
Speaker 2:
Yeah, that'd be great. I think it's a great idea.
Speaker 1:
I think it is too. We might just do that.
Speaker 2:
Yeah, show starts at what time tonight Doors are at seven. Show starts at eight Yep Doors are at seven.
Speaker 1:
Show starts at eight. This will be out probably a week or two after the show.
Speaker 2:
But for those of y'all listening.
Speaker 1:
I'll give y'all an update on a solo episode Arden. I appreciate you coming through. Thank you and we appreciate as Philadelphians, we appreciate what it is that y'all are doing at the Ellis and the service that y'all are providing, and I've seen nothing but good things so far and have very, very high expectations that I do believe y'all will have no problem meeting.
Speaker 2:
Well, thank you very much and we look forward to being a part of the town.
Speaker 1:
County Line congregation. Thank Mr Arden Barnett and Arden land until next time, peace.