
MasterStroke with Monica Enand & Sejal Pietrzak
Join tech industry mavericks and thought leaders, Monica Enand & Sejal Pietrzak, as they share insights and tools from their personal playbooks as Founders, Tech CEOs, and Board Chairs.
Conversations will explore strategies around leadership, navigating private equity, time boxing, micro and macro trends shaping the business landscape, and game-changing tech trends, such as AI and the need for transparency.
Season One features guest Hasan Askari, private equity founder and managing partner of K1 Investment Management and Merline Saintil co-founder of Black Women on Boards (BWOB)
Executive Producer: Georgianna Moreland
MasterStroke with Monica Enand & Sejal Pietrzak
Tre Nagella - Inside the Music Industry with 4-Time Grammy Winner
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In honor of Grammy season and our love of music, Monica Enand and Sejal Pietrzak, joined by Executive Producer Georgianna Moreland, sit down with the legendary Tre Nagella. A four-time Grammy-winning engineer, record mixer, and music producer—now nominated for his fifth Grammy—Tre’s career spans multiple genres, from pop to country. He’s collaborated with some of the biggest names in music, including Lady Gaga, Kirk Franklin, Blake Shelton, Snoop Dogg, Ed Sheeran, and Travis Scott, to name just a few.
As the co-owner of Luminous Sound, one of the country’s premier recording studios based in Dallas, Tre has also served as a Governor of the Texas Chapter of The Recording Academy (Grammys). Over the years, he has dedicated himself to advancing the music industry and mentoring the next generation of creators.
Tre takes us through his inspiring journey—from the mentorship of Paul Loomis and gospel legend Kirk Franklin in his early days to his work on groundbreaking projects. He provides a candid and insightful look into the ever-changing music industry, discussing the rise of streaming platforms, the transformative role of AI, and how evolving technology is revolutionizing music creation and ownership. Tre also dives deep into the business side of the industry, shedding light on 360 deals, music ownership, and the delicate balance between creativity and business strategy.
Tre also shares behind-the-scenes stories from some of his most meaningful projects, including “The Impossible Dream,” an extraordinary album nominated for Best Traditional Pop Album. Led by Broadway star Aaron Lazar, this project features music icons such as Sting, Lin-Manuel Miranda, Josh Groban, and Kristin Chenoweth, all united to raise awareness for ALS. He also discusses “Romani,” a breathtaking collaboration between the Dallas String Quartet and the London Symphony Orchestra, composed by Ion Zanca, and “Perla,” the viral hit by rising stars Los del North Texas, reflecting his passion for mentoring and nurturing new talent.
With warmth, humor, and unparalleled expertise, Tre shares career-defining lessons and unique perspectives. This episode offers inspiration for aspiring creatives and practical insights for seasoned industry professionals navigating the rapidly changing landscape of music.
Don’t miss this exciting conversation—it’s a must-listen for anyone who loves music, creativity, and the stories behind the songs.
Georgianna Moreland - Executive Producer | Managing Editor;
Matt Stoker - Editor
Welcome to Masterstroke with Monica Enid and Sejo Pietrzak. This is Georgiana Moreland, executive producer, and we have a very special episode for you today In celebration of the magic of music and Grammy season. We're joined by our friend, the multi-award winning, talented producer, engineer, mixer and musician, Trey Nagella. The music that you will hear throughout this episode is from some of his latest projects. First up is the Impossible Dream, nominated for Best Traditional Pop Vocal Album, Brainchild of Broadway star Aaron Nazar, who brought together legends like Sting, Lin-Manuel Miranda, Josh Groban, Kristen Chenoweth, to name a few, All in an effort to raise awareness for ALS. Then we will dive into Romani by the Dallas String Quartet and the London Symphony Orchestra, composed by my brother, the musical genius of Jan Zanka and finally Perla, a viral hit by the guys from North Texas or Los del North Texas, one of the standout artists on Trey's new record label, the dream, the impossible dream to fight the unbeatable foe to bear with unbearable sorrow.
Monica Enand:All right, welcome to Masterstroke. Today's episode promises to be a deep dive into the heart of the music industry with one of its most talented architects, and we'll hear more about him in just a moment. But we also have something different on the podcast today, and that is that Georgiana Moreland, who is our executive producer, has come out from behind the curtain and is hosting the show with us. Sejal and I are just so happy to have Georgiana in the front of house today. Welcome, georgiana.
Georgianna Moreland :Well, thank you, thank you. And my good friend Trey Nagella is here joining us, grammy Award winning producer, musician jack of all trades. And, trey, how many Grammys do we have?
Tre Nagella:I'm on number four and nominated for number five this February.
Georgianna Moreland :Hello, hello, and I have a really funny story to tell about that. So Trey and I have known each other probably about 10 years, right?
Tre Nagella:Yeah, that's about right.
Georgianna Moreland :He's worked with DSQ Jan Zonka, who I've worked with in the past, and years and years ago I was actually in the recording studio with them and I was doing some you know video thought I was cool doing some video for you know Instagram, whatever the heck and there was a box in the way and I was like, hey, trey, can I move this box? And he was like, oh yeah, yeah, it was one of my Grammys that came a couple days ago and I haven't opened it.
Monica Enand:You left it in the box. Oh my gosh Trey, it was in the box on the floor.
Tre Nagella:So when you go up on stage and you get your Grammy, you actually don't keep that one. No, the ones that you see them give to you on stage are just props. Essentially they are real, but they don't have your name engraved and all that. So they have a couple that they hand out for looks, and then they take them back from you when you come off stage and then it's weeks later, once they engrave them, send them out to all the winners oh, that's so cool, I would carry mine around everywhere.
Monica Enand:I'd be like putting it in my bag. I'd be showing it to everyone.
Sejal Pietrzak:I'm sorry well, it's really valuable. You don't want to carry it around.
Tre Nagella:I don't know you know, I'm um, I'm very humbled by it and I'm proud of them, but I also realize that it's art and art is very subjective and so it's hard to I try to be very humble about it. I've had the opportunity working with some really talented people over my career um many who don't win awards. So as much as I'm appreciative, I try not to put a whole bunch of stock into it. There's a famous quote from Woody Allen, the film director, and he famously did not attend the Oscars one year when he was nominated. And they asked him why not? And he said how are you going to pick a winner for art?
Monica Enand:He said now, if you want to run a race, I can tell you who won the race, but I don't know how to tell great records and great music that, because I do think it's important not to put too much stock into, you know, into feeling too much, because if you feel too connected to it, then you know, if it doesn't happen, does that mean it wasn't great? No, it doesn't. It really doesn't. You know that's not the case. But what we have seen on this show, after doing it for a year, is that people who have repeat success, it's just like one after another. They're not a, let's say, one hit wonder, since we're talking about the music business. There's something special about them and you know, I think success does beget success, and you said, like working with talented people, but I don't think that's. You can't fake that.
Sejal Pietrzak:And it's the talented people who we see, the artists who want to work with Trey, such as Lady Gaga and Kirk Franklin, Blake Shelton, Ed Sheeran, Travis Scott. That's quite a list, and I'm sure the list is even longer than that. It's pretty impressive.
Tre Nagella:I've got some stories. It's been a long career.
Sejal Pietrzak:Well, we actually want to hear about some of those stories in a little bit, but we're actually thrilled to have you on the show. I mean super excited. So maybe we can start and feel free to jump in with any stories along the way. But how did your music journey begin? You know who were the mentors. How did you know who are the influencers? How did you know who are the influencers? How did you get into this and how did you get to where you are?
Tre Nagella:I started playing guitar, like a lot of kids, when I was probably junior high, age, 13, 14 years old and I went to a large high school I grew up in Dallas, and so it was a big 5A school with thousands and thousands of kids, and they had a in addition to the theater department which most schools have, they also had a technical theater department which would teach sound lights, costumes, makeup, set building, all those kinds of things, kinds of things, and so that was the first time anyone ever taught me about microphones and running a PA system. So, freshmen, in high school, they're introducing you to running a soundboard in the high school theater department, and I got enamored with that, as well as playing guitar in a little garage band. And then my junior year in high school, we pooled our money and we went to a small recording studio to do some recording and, you know, nothing ever came to the recording. We're a bunch of high school kids, but it was my first time in an environment like that and I just thought it was the coolest place I'd ever seen. And so my senior year in high school, they offered a program for honor roll students seniors only where you could get out of class and do a non-paid internship. So I literally went to the phone book this was pre-Google and you had to go to the yellow pages and I looked up recording studios and started going down the list pages. And I looked up recording studios and started going down the list and I got rejection after rejection until I got all the way down to L and found a place that said they would take me and I started going there every single day, eventually, kind of skipping skipping school, skipping class, to hang out at the recording studio all day long. That's sort of where I met my first two mentors were the two engineers that worked at that studio. So you know they taught me quite a bit. And then I started asking them hey, once I graduate high school, where do I get a school for this kind of thing? And they recommended a place called Full Sail which is in Orlando. It's kind of geared towards music production and film and video and computer animation If you want to go work at Pixar, those types of things. It's a creative, kind of like a trade school but really high end. And so after high school I packed up everything and moved there. I ended up doing a couple of years there and then came back.
Tre Nagella:My next mentor was a composer that I got a job working with. He was mostly doing TV and radio commercials, writing jingles, scoring movies, that kind of stuff. He hired me to come on as his producer and help him. He's a great writer and composer but he's not an engineer. I would do a lot of the technical stuff for him. He's a great writer and composer but he's not an engineer, so I would do a lot of the technical stuff for him. And then he found out that I programmed drums and played guitar and did other things and so we kind of became a team and I worked with him for a long time. He's still kind of a father figure slash business mentor to me. What's his name? His name's Paul Loomis. Like kind of a father figure slash business mentor to me. He's been very what's his?
Tre Nagella:name. His name's Paul Loomis.
Sejal Pietrzak:Okay.
Tre Nagella:And he's probably one of America's premier jingle writers. If you've heard things like Stanley steamer gets carpet cleaner yeah, he's. He's done all those kinds of things and he's been very successful in business in general. He owns a number of companies, so he's a very bright entrepreneur, and so I got to spend thousands of hours in a room with him soaking in some of that knowledge, and then as far as a little later in my career, when I was 26 or so, I started working with a gospel artist named Kirk Franklin and logged thousands of hours with him for years and years. We worked together, and so he's been a really great mentor for me as well, in kind of a different aspect, musically and spiritually. That's awesome. I think it's important for everybody to have a mentor, no matter what your craft or your business. You know learning from someone maybe older and wiser, more experienced, and I think that's really important part of growth. So I've been fortunate to have a few different mentors along the way.
Sejal Pietrzak:That's come up a couple of different episodes as well. You know both Monica and I talking about it, but then also some of our guests. In all different aspects, it's very important to find mentors and then to be a good mentee also. You know so that mentors want to mentor you. That's great. So how did you get involved with, how did you find you know, working with artists that ultimately led to you know being at the pinnacle of your career and and yes, we don't talk about the award so much but to get to that level, You're asking how I, how I ran across these artists?
Sejal Pietrzak:Yeah, how did it progress?
Tre Nagella:It's really an organic process. I wish there was a, a real answer. This is what's kind of a challenge or a difficult thing about music business or being a producer or engineer. Right, if you want to go be a doctor, for example, there's a very pretty clear-cut path. Music doesn't really have that. There is no producer school to go to. You know, you can study music like performance, and get a music composition degree or performance degree. You can, like me, study the engineering or the more technical aspect of it, but there is no real producer school to go to. There's no set path on how to meet artists or my types of clients, so it just sort of happens organically.
Tre Nagella:I remember to tell a quick anecdote.
Tre Nagella:I have a friend of mine who's a touring musician and a phenomenal player and he was telling me that he was in Singapore for this and Australia for that and he'd been touring all over the world and of course, as a young person it sounded so glamorous and fascinating and I'm asking him how did you do this and how did you get this job and how did you go here?
Tre Nagella:And he eventually picked up on, I think, where I was going and said you know, man, I can tell you how it happened for me, but the truth is you're going to have your own path. You're not going to be able to follow what I did because you won't meet the same people and have the same story. So I know that's kind of a vague answer to what you asked me, but I've met people in all different kinds of ways. It's usually word of mouth. Honestly, I don't advertise like a traditional business. It's just who you know, and one artist recommends you to another artist, or somebody hears an album you worked on and then wants you to offer those same services for their project. So I'm still looking for the secret.
Georgianna Moreland :Well, as an artist too, it's being open to opportunities right In every way Right, and being willing to go for everything. We recently interviewed Thomas Kramer, who spoke about his episode was about quantum computing and Monica was talking about the progression of his career and she said you know, it seems like you've had quite a bit of luck. And he said something that was so transformative for me where he said, yeah, but luck favors the prepared Right, and I think even just the path of an artist is just you're constantly learning, and I mean everything you spoke about previously was just about learning from you know, mr Loomis, and all the opportunities and just being hungry to learn and to grow and there's a lot of common threads between while I agree with you that I think music is the most, probably more vague than anybody many other careers in terms of how to get there, the entire industry that you're in and no one.
Monica Enand:I think most careers that end up exceptional are not straight lines. There is no one thing that you did or one moment. But we do talk about the show is called Masterstroke and we like to talk about the kind of masterstroke moments, kind of the turning point, and it might not be like I did this and then boom, I was successful and everything went great after that. Obviously that's not like you know, you sit under a tree and get hit by an apple, it's not like that. But is there a moment like where you go? I think I'm on the right path and I understand my gift, my talent, that I'm bringing, and I know that I'm going to continue, because what you did, trey, is much riskier than, frankly, like Sejal and I, like we're in industries where we kind of moved along a certain path and and I think what you did was a lot taking a lot more risk as an honor roll student, as you've mentioned, and deciding to go that path. So I think it's really admirable.
Tre Nagella:Yes, it's definitely a riskier move, I think as a very young person like high school age when I started getting into this. You're pretty naive at that age and so I didn't realize it was that risky and there was no real backup plan. This was just it. This was what I was going to do and it was my passion. I joke with my mom now as an adult and I say Mom, why didn't you tell me to go be a dentist or real estate person or something more normal? And we have a laugh about it and she said you know, if I would have told you at that age to do it, you wouldn't have listened to me anyway. There was no deterring you.
Monica Enand:You were sick, you needed an Indian mom In Indian families, they would have said uh-uh. But actually I'm so glad you didn't have that and that you did have your mom, because she was wise.
Tre Nagella:They weren't the most supportive. My dad being wiser, he was musical in his young days and he kind of tried to deter me from it. But, like my mom said, there was no deterring me, so I just went about my path. I packed up everything I had known. We were 1,300 miles away. Luckily it worked out.
Monica Enand:So it's clear you had that kind of early passion. But was there a moment at which you go I'm going to make money, I'm going to have a profession and I'm going to be one of the top Grammy award winning or whatever, I'm going to be able to make a good living at this. Was there a moment where you go okay, this is working out?
Tre Nagella:I sort of knew at a really young age this was it, this was what I wanted. I was very singular, focused. So I don't know if there was one moment, but this is sort of all I've pursued since I was, you know, junior, high, high school age. You know I've had different moments that kind of continued to push me along, like the program in high school, you know, helped motivate me, meeting those engineers when I was in high school and they encouraged me to do it, and then that encouraged me to pack up. You know, I lived in one place my whole life through high school and then that encouraged me to pack up.
Tre Nagella:You know, I lived in one place my whole life through high school and then after that it takes some courage to pack up everything you own and move halfway across the country not knowing anything. And then I did really well at school and so that encouraged me. You know, knowing that I was making good grades, I ended up graduating valedictorian of my college. So that sort of was another confidence booster. But again, think, being a little naive, I thought, hey, I'm the, I got all straight A's and 4.0 and I'm coming out of here, I know what I'm doing. And then you realize when you get into the real world and you're still just the young green kid that you don't know what you're doing and you still have a lot to learn. And then you're quickly humbled again and so I think that sort of continued over the years.
Sejal Pietrzak:Is there an initial artist that you got an opportunity to work with that you think sort of springboarded to the next and the next and the next?
Tre Nagella:I'd say working with Kirk Franklin did that for me. I'd worked with some other fairly big artists, but they were sporadic. You know, I may have gotten the opportunity to spend a weekend doing something Snoop Dogg or a weekend 50 Cent or different kinds of artists where I would do a day or two or three or one song on an album through my early 20s and then around 25 or 26, I got a call from Kirk and he said come on board and basically do this entire album with him and it became nine months of my life working. We averaged around 50 hours a week for almost a year to do that project. And then that him being such a large, influential figure in that gospel and christian community, that sort of helped launch me onto a little bit bigger stage, to where everyone had heard of him and wanted to hear the albums.
Tre Nagella:That album went out and I ended up winning my first grammy for that record which, um, I thought that would kind of change my life, but it didn't really change my life as much as I thought it would. But it does give you some credibility, right. It gives you instantaneous sort of respect from other people in the industry. They know that you must be doing something right. You must know what you're doing if you're working with an artist like that to work on an album that becomes successful like that. So I think that helped, and then my career kind of continued to grow from there.
Georgianna Moreland :Well, trey talked to us about that because, being located in Dallas, right, you really built something significant in Dallas and compared to a Miami or New York or in LA, where probably has bigger music scenes. Am I correct?
Tre Nagella:Yeah, I would say that LA, uh, new York and nashville probably your, probably your top three cities. Nashville, mostly for country and ccm stuff. Obviously, la is the mecca for the music industry. Um, miami, miami would also be up there, mostly for latin music. So being in dallas, dallas is sort of a second or third tier city, so I do think that's a little bit more of a challenge for me, not being where all the opportunities are, and so I had a lot of people talk to me about that early in my career why, aren't you going to la?
Tre Nagella:why aren't you moving? But I always felt like there's like the dallas fort worth metroplex is still eight million people, all right, so there's still a lot of talented people here and there's a big enough industry. It's a big enough city that there's an industry for everything. So people seem surprised that you can make it in the music business in Dallas and I think we're like fifth or sixth largest city in the country. There's still a market for it.
Georgianna Moreland :Do you find artists coming to you now?
Tre Nagella:I do have artists that come to me and I think the technology helps in a big way now. Maybe in decades past that wasn't so feasible, but now I mean, I don't know exactly where you ladies are all, but I know we're all not in the same room.
Sejal Pietrzak:Right, right, so that I was going to ask you what technology you're talking about. Things like you know, zoom, or being able to connect and not have to be face-to-face for all your meetings well that it's digital, the music is digital right, and that it can be anyway yeah, I have people that I've never met that are clients, that send me files.
Tre Nagella:They record at home, they record in their studio in new york or wherever, and then they send me the files to mix or work on production and we can go back and forth.
Tre Nagella:Some of the software that we use has almost like cloud-based work now, where you can work in conjunction with someone else simultaneously. I use a program called Audio Movers that lets me stream full quality audio in real time. So, let's say, monica was an artist and she sent me a song to mix and I'd worked on it by myself maybe for a day or two, but I wanted to get her opinion. She could go into you know a quiet space and put on headphones or put in her AirPods and I can be streaming my work to her in real time and we could be on FaceTime or Zoom just to communicate and she can say no, I want to hear my voice more like this, or can you turn this up or turn this down? And I can do it real time and she's hearing what I'm doing, just like she's sitting in the room with me. So those types of technologies.
Sejal Pietrzak:We have a lot of that technology.
Tre Nagella:Yeah, the technology has made it a lot more feasible to have a career outside of LA, and I'm just a two and a half hour plane flight, so it's being very centrally located in the country. It's not too tough to hop on a plane and be anywhere in a matter of hours if I need to be.
Georgianna Moreland :Well and Tre break down, let's say, an album like Romani by DSQ, right? No-transcript? Did you record the strings here in Dallas at Lumina Sound or break that down a little bit so we kind of see how even an album like that worked.
Tre Nagella:Yeah, so in that particular instance the leader of the group had worked with some arrangers and they do mock-ups with keyboards, right. Instead of hiring a real orchestra, they basically play keyboard parts in to mock up the idea, in to mock up the idea, and then they brought that to me and then we I recorded all the string, the string quartets parts, so the violinist, viola, cello, bass we do all that here at my place, and then he wanted to put an entire orchestra behind that. So he flew to London. They took the tracks that I had recorded to London and replaced all the mock-up stuff with the London Symphony and then they shipped the tracks back to someone else or me to do all the final post-production. So files get sent from one location to another location, in this case kind of around the globe, which is pretty neat. He had files. He had some arrangers and musicians play on the record that were in Spain in.
Tre Nagella:Romania, different places, so the files literally just travel the globe and then all kind of reconvene in one place.
Sejal Pietrzak:Whenever I think about music and recording, I still think probably the old school way, where everyone's in the studio and they're doing all of that together. That's really interesting. So you're talking about transformation, and this is dramatic transformation, with being able to do this globally and remotely, with digital technology as traditional music you know CDs, vinyl records to now streaming services, which really, you know, drive almost 70% of recorded music revenue. You know this is an industry. This whole streaming music is $28 billion in 2023. So I know our listeners would love to understand, I would love to understand a little bit more about that shift from an industry perspective. And how has that changed? I mean, how's that changed the business for, whether it's artists or producers like you, or even the labels?
Tre Nagella:Well, people don't sell near as many records these days, which is an unfortunate downside. You know it used to be in the, the heyday of record sales, the 80s and 90s, where an artist could go out and get a gold record or a platinum record, sell a million units because that was the only way to consume music right to go to the store and buy a cassette, to buy a CD. Then, around 2000, when the streaming services started coming out, you saw a huge crash in the music industry for about a decade, from 2000 to 2010 or so, where Napster was happening and LimeWire and all these services where you were downloading, people were stealing file sharing and the music industry was kind of in turmoil, couldn't figure out how do we make money on this now and then, I think, post 2010 or so we've. So the last 15 years we've started to get a handle on how to monetize it. You know, no one's really stealing files that much because you can just go on Spotify and stream it, so there's no need to do that.
Sejal Pietrzak:Um but then how do you make money like how does that work then?
Tre Nagella:yeah, the streaming services unfortunately aren't paying artists very much money. Um, I mean, they do pay, but it's it's not very good, unfortunately. So, um, there is some money being generated there for artists, but I think that the majority of the artists are especially the more independent or smaller artists. You know the Taylor Swift's and Drake's of the world that are streaming billions and billions of streams. That's still generating a significant amount of money for them, but the smaller artists it doesn't do a lot. It's really promotion for people to know who you are, and I think that they're making a lot of their revenue on touring live shows, merchandise, endorsement deals, sponsorships, all those kinds of things.
Tre Nagella:That's crazy that there's still still there's that you make your money on all the other pieces other than the actual music right, which isn't really all that different from the way it's used to used to be, because, uh, historically, the record labels took the majority of the record sales, right, so the artists were still making their money on things like touring and and that kind of stuff.
Tre Nagella:So that's why record labels I don't know if you guys are familiar with, uh, what they call a 360 deal, but it's essentially the record label wanting a piece of everything instead of just the records they realize we can't make money on just the albums. So we'll fund the albums, we'll put money to promote and market the albums, but we want to make some money off of your shows or off of your merchandise or off of your endorsement deal or anything that you do, because we're not going to be able to make enough just off the album. The album is essentially a promotional item to get people to know you, to come to your shows, to buy your merchandise. So that's been very common for years and years now that they do a 360 deal with a lot of the artists.
Monica Enand:Yeah, it's funny because I think the promise of the internet and the promise of all this technology was sort of democratizing and giving access and that we would have this like wide variety and everybody could pick the music that they wanted. But it feels like in practice what has really happened is it actually has concentrated and shortened the list of it's like certain artists or certain songs get played way more than, as opposed to having a wider choice. It feels like what actually happens is we're just concentrating with the same sort of art. Do you feel that way, or is that a misinterpretation of sort of what's happening?
Tre Nagella:Is that a misinterpretation of sort of what's happening? I would probably actually sort of disagree a little bit with that. I think that when the main form of discovery was radio, I remember being a young person early 2000s, getting into this business and I was working on an album and they had some radio promo. Like a program director came to the studio to meet with the artist and they laid out for them the playlist that was on their station. This was a big pop station top 40 and I remember looking at that was my first time to ever see something like that and it was like 20 songs, that was it.
Tre Nagella:And I remember being shocked and thinking, wait, your station plays music 24 hours a day, you're telling me and it's the same 20 songs over and over again, the same 20 songs and they were kind of like yeah, sometimes we'll do a little call-in request or whatever, but for the most part we've cycled these 20 songs and every week when new music comes out we'll drop two or three and we'll add two or three more, but that's basically it, and I remember being shocked at how little variety there was and I go no wonder every time I get in my car and turn on, turn on the radio, it's that same song again yeah, the same song, right so now you know that, you see the statistic that there's.
Tre Nagella:I've seen varying statistics. Anywhere between 60,000 to 100,000 songs a day are uploaded to streaming services yeah, I just googled it, it's 100.
Monica Enand:It's roughly 100,000 new songs being uploaded to digital music platforms every single day globally.
Tre Nagella:Right Now. How you cut through that clutter if you're an artist right is a whole other conversation, but I think that people now having interactive streaming services to just go click on anything you want to hear, I think, and the services do a pretty good job of recommending similar artists or other things you might like. Or then you have non-interactive services like Pandora, where you put in an artist you like and it will just automatically play other things similar. You know, I think it leads to more discovery now.
Georgianna Moreland :That's so true and tell me if I'm talking out of turn. But back in the day the record labels also kind of control the program directors right and would pay them onto the table and say, hey, this is my song, I need you to put this in rotation and play this over and over. So there was a lot of kickbacks, a lot of that stuff going on.
Tre Nagella:There was, there was. Yeah, they call that payola.
Georgianna Moreland :And that eventually became illegal.
Tre Nagella:But let's be honest, those types of things still happen, maybe not in quite the same way, exactly.
Georgianna Moreland :So I grew up with Gloria, estefan and Amelia when they were starting their career and the whole thing. So Gloria's like my aunt right, and I've been in the studio with them as a teenager, 20s, as they were recording and getting started. And Gloria just got inducted in the Songwriters Hall of Fame. I mean, she writes like crazy and I remember them always saying that's where artists really make money. They have to write and they have to own their own music. Is that still correct or would you agree with?
Tre Nagella:that? Yes, I would. I would agree with the fact that the writers tend to make a lion's share of the money right, and I feel like they should. They're the, they're the writer exactly. Wouldn't be um, there wouldn't be that creation if it wasn't for their creativity.
Tre Nagella:As far as owning the masters, it's sort of a very complicated system that I am still trying to understand, with writer shares, publishers, record labels, artists and how that's all divvied up, how the money that comes in is all divvied up. I'm not an expert in all of that. I know my experiences and I've been in the room to learn a little bit, but it's kind of a complicated process. The master is the actual physical recording, not necessarily the composition, but the actual recording of that composition. So typically the record labels historically have owned the bulk of that master. The artist owns a percentage of it.
Tre Nagella:You'll hear a lot of artists now, especially the big artists like Kanye type person, coming out and saying artists need to own their own masters. If you're an artist and can do that, then of course I'm going to side with the artists and I think that's great for them. I do also have. I do also see the side of the record labels, though it's easy for the general public to get behind their favorite artist. If Taylor Swift comes out and says artists need to own their masters, then of course everyone jumps on that train and says we're going to back what she says and yeah, artists should own all their masters, and there is some truth to that.
Tre Nagella:But I would have to say that there is a record label there for a reason, and it's a team of people that are doing an immense amount of work behind the scenes to work on behalf of that artist, and without that, it's not usually nearly as successful. I mean, I couldn't name you any superstar artist that isn't on a record label. Very true, and there's a reason for that. Right, there's people back there constantly doing all the day-to-day work of promoting and marketing and administrative work and things to help this artist, because there's no way that they could do it all. So I do see the side of the record label as well. I started a small record label about a year ago and am learning very quickly how much work that is. So, to be fair, you know I don't know that the artists should own everything. There has to be some leftover for all the other people on the team that helps them Well and also you know, it gives the artists the opportunity to just focus on the art, because it's hard.
Georgianna Moreland :If the opportunity to just focus on the art Because it's hard, if they're trying to focus on all the other things, then the art is sacrificed, correct.
Tre Nagella:Yeah, I mean, I know everyone sees Taylor Swift as a superhuman. You know, woman that does everything and she is. But you know she can't be booking studio time and booking musicians and doing all the legal aspect of her split sheets and publishing and tracking down where all of the money comes from and then out coordinating her entire tour and I mean that's just too much for anybody to do. Everything takes a team Right, and I think this is true for any business. Know y'all talk about other businesses on your podcast. You know there's there might be a figurehead, a person that kind of gets all the glory.
Monica Enand:There's always a team behind anything that's been successful at least in my experience, it always takes a team of people kind of similar to our business and that you know there's entrepreneurs and management teams that run companies and people think, well, those are the people that build the company and run the company. But our investors make good money on us too, because they have to invest, they have to help us and support and they put infrastructure that reduces the risk. They have, you know, best practices that they share with the teams. So there's a lot of like. Sometimes people are like, ah, the investors. But truthfully, yeah, it takes everybody to be successful.
Sejal Pietrzak:I was just going to change subjects a little bit and move to something that I think our listeners would love to hear about. So you've collaborated with lots of different artists and people. We know, famous people. Can you tell us any anecdotes or memorable stories about any of those?
Tre Nagella:Oh, lots of stories. Which ones am I allowed to tell?
Sejal Pietrzak:that's. That's a good question. We want the just build some tea, right we?
Tre Nagella:need the juiciest story you've got um, it's funny to see what's on people's riders sometimes not just yellow story about a particular person.
Monica Enand:What is it yellow and what was it? I don't remember writers what's a writer yeah.
Tre Nagella:So a writer is a, a clause in a contract that artists will typically have where they want certain items. You know, and and I gotta stick up for the artists on this one I've I've seen people get frustrated or upset and go this person's a diva because they had to have all these demands. They had to have this certain thing, and what I think the average person doesn't realize is a lot of these artists are away from home for months on end. Right, they live on a bus or in a hotel room Not always the most glamorous thing, if you're not.
Tre Nagella:You know, even for superstars that get first class travel, it's silly. They just want some creature comforts and the artist pays for it and it's just there wherever they go, and so it's available to them if they want it. So we get a lot of those in the studio. When big artists come through the studio, they'll send their rider ahead of time, and so sometimes it's funny to see, like Lil Wayne, he comes to the studio every time he's in Dallas and he always just has a bunch of candy. That's all he wants Candy and sodas. He's like a sugar sugar addict.
Monica Enand:You know, I don't know if it's urban legend or whatever, but was it Van Halen that said they wanted the brown M&Ms? That's what I was trying to recall. That story. Okay, the story I think I've heard is that Van Halen had in their rider that they wanted a bowl of M&Ms but they wanted all the brown ones removed and that the reason they wanted this was not because they actually wanted it, but because when they got there they wanted to know if the producer had read the rider. Is that the story you've heard or do you think there's truth in that? Yes, that is that the story you've heard or do you think there's?
Tre Nagella:there's truth in that. That is the yes, that is the same story, the same famous urban legend that I've heard as well. They're just people, right, they get a lot of attention maybe they you know paparazzi follows them, or they make a lot of money or whatever, but they're still just people at the end of the day and they just want to be comfortable, especially in the environment I live in. This is sort of a, the inner sanctum where they want to create. So they, they don't have to dress up. You know, there aren't paparazzi, there aren't fans here. We keep it very private so that they can just come in in their sweatpants. And you know, the girls come in with no makeup and their hair up and they just want to be comfortable because we do long hours.
Georgianna Moreland :And you know what they're artists. Artists sometimes can be eccentric, and that's part of who we are in order to create, so that's. You know that sometimes is read incorrectly, but it's just part of the quirks of who artists are. They express themselves. You know the way they do and it's just part of the quirks of who artists are. They express themselves. You know the way they do and it's all good. Now okay, so I have a question. So what do you do in the event that you have a mom who thinks little Janie is a phenomenal singer and you know she's willing to pay the studio time and bring her in with the Grammy? You know, producer, how do you navigate a situation like that, Cause I'm sure you've come across that also.
Sejal Pietrzak:Oh yeah, oh it does.
Tre Nagella:Oh yeah, all the time. Um, we in the industry we politely refer to those as vanity projects. Okay and no, you know, nothing bad meant against that, but they are really want to be in this and that's the best way they know how to pursue. It is to hire the best team, right, which there's nothing wrong with that. Um, that's kind of a delicate situation. I never want to offend anybody. Um, if you're just an individual, then I think you can sort of just decline it for whatever reason. You could say you're too busy or charge an exorbitant amount of money or however you want to find your polite way of declining.
Tre Nagella:I own a recording studio, so we are open to the public and so we don't want to turn away any business. So in those cases I usually don't personally take those projects on. I'm open to it. I will definitely try to help the client as best I can. I'll take a listen to their daughter or whatever. Like your example, I might give them some honest feedback. I try to be as honest as I can. People are coming to me because they want, as I can. People are coming to me because they want. I don't think they want to be sugar-coated all the time. That's not going to help them. I know that it can hurt some people's feelings. I would never try to do it in a rude way, but I'll be honest hey, this person needs a lot of work or you're not quite ready for this. You might want to invest your money in vocal lessons instead of trying to come make a record right now and then let this person develop a little bit more.
Georgianna Moreland :I'm sorry, I had to ask Now, trey, you've worked across so many genres, from country to pop, to R&B, to gospel, and then can we now add Broadway album to your list of credits?
Tre Nagella:Yeah, I've been really fortunate to work in different genres. I think I know that some people find a lot of success by staying in one lane and that works for them. I like all genres of music and so I've been pretty fortunate to not really get pigeonholed into one thing, um, so I think that's kind of neat. Uh, and yeah, I just recently did a broadway album. I think you're referring to that. It's, I guess it's more considered traditional pop or americana. They're not all necessarily broadway show tunes, but I'd never really done quite that. I'd done choral records before. I'd done orchestral records, obviously pop records, gospel records, but this was kind of a first working with a bunch of big Broadway stars.
Georgianna Moreland :Can you tell us about the album, the name of the album, what it's nominated for, the reason of the album? Tell us all about that, please.
Tre Nagella:Sure, there's a gentleman by the name of Aaron Lazar and he has made a career on Broadway for over 20 years. He's probably not a big A-list celebrity that most people would know, but obviously a very talented guy if you're going to make a career for two decades on Broadway and he's been in productions with a lot of the big A-list stars. Unfortunately, at the end of last year he was diagnosed with ALS, which is a neurodegenerative disease, and that's really sad to hear. Disease, um, and that's really sad to hear. And he decided that, for the disease progressed too far along, that he wanted to make an album of his own, and so he did not do original songs, but he wanted to do either like classic american songs that are kind of what we call American standards, or or Broadway show tunes that you would know from famous Broadway musicals. And then he called in favors to a lot of his co-stars and asked them to participate, and so every album, every song on the album, is a duet between him and another notable Broadway person To reach the unreachable star.
Georgianna Moreland :This is my quest to follow that star, no matter how hopeless, no matter how far.
Tre Nagella:A lot of them are Tony Award winners, grammy Award winners. There's big stars like Josh Groban, manuel Miranda, leslie Odom Jr, kristen Chenoweth Sting a whole cast of amazing talent on that album. So that was a lot of fun and kind of hearkening back to the previous conversation about the technology. A lot of the songs were done in New York, some of them were done in LA, a lot of the arrangements were recorded in Oklahoma and then I mixed it and did some of the recording here in Dallas and so everything was just sort of shipped all over the place. I think there was something like nine different recording studios were used, hundreds of musicians and the choir and orchestras. So it was a pretty big project and I was hired to mix it.
Tre Nagella:So the original plan was that all the songs would be recorded and produced and they were going to send it to me to mix, which is basically the final post-production of balancing, making sure that everything sounds just right, how you want it, equalization and balance those types of things. So it was supposed to be nine songs. I was going to do a song a day and then have a 10th or 11th day left for any kind of revision, so it was supposed to just be a long week and a half, and it didn't really work out that way. It ended up being, you know, I don't know 14, 15 hours a day for almost two months, just because there were so many moving parts to it that you know, we'd finish a song and there'd be four or five producers plus the artist, plus the arranger, plus myself, and we'd all have to agree, and so that would drag out for a couple days, and then we'd sign off on it and we'd send it to Josh Groban and he'd want to make a change or his team would want to do something else, and so it just.
Tre Nagella:It was one of the more challenging projects because of the amount of people involved, but it turned out fantastic. It was his dream to kind of walk the red carpet and he uh, his team, his promotional team and PR team and and everyone did an amazing job promoting the project, and he was fortunate to go out and get a Grammy nomination this year for best traditional pop album, and so I don't know if he'll be able to walk it or not, but one way or another he'll be going down the red carpet in February, so I'm really excited for him well, congratulations to him and to you and the entire team.
Sejal Pietrzak:That's exciting.
Monica Enand:It's very inspirational.
Tre Nagella:Yeah, it is pretty inspirational, he's an inspirational guy, yeah. That's amazing.
Monica Enand:You've talked a bit about technology. I have a burning question about. You know. We talk a lot on the show about artificial intelligence and the effect it's having on all aspects of the world. Intelligence and the effect it's having on all aspects of the world. I recently heard that Paul McCartney told BBC that he wanted to record the final, you know, use AI to do a final Beatles song with John Lennon's vocals. And he, you know I'm sure he didn't anticipate the kind of pushback he was going to get, but he got, you know, kind of he had to walk it back and sort of say, oh no, a thing would be artificially, you know, created and you know just that controversy. What's your take on how AI is affecting the music industry?
Tre Nagella:I haven't had too much experience with it so I'm probably not the best person to ask. I mean, obviously I've seen and heard the songs coming out where they, you know, artificially created someone's voice. There's a lot of legal aspects that are going on with that. I've been a member of the Recording Academy for years and they've been talking about that for at least a few years now on whether they should be able to give Grammys for an AI-created song, which they've decided against it does have to be created by a real person. But I'm in favor of technology in general, so I'm open to see where it can lead. I do think that, no matter how good the technology gets, I still feel like there's in any art, whether it be writing or painting, that there's a human element there that's crucial. I understand that an algorithm can create a series of notes and rhythms or transform someone's voice to sound like this, but I don't know. I just I have a little bit of hope in humanity that it's that the computers aren't going to take away the soul.
Monica Enand:so I'm all for the technology as long as it doesn't replace completely replace people well, I think you know I heard Ben Affleck recently said you know, while AI can create, you know, create repeated new, you know, things that have been done before, ai isn't going to be Shakespeare, you know, and that's kind of the same thing in art is, if you're creating something brand new, there's no way for AI to do anything brand new, because it's just based on training tune or the drummer just kind of sped up a little bit in the chorus or whatever, and I think those imperfections are what make it perfect in a way.
Tre Nagella:It's what make it human. A robot's not going to do that, so I think it's great. It's just another tool that we can use, but hopefully it's not going to replace people. We'll see where it goes. It'll definitely be an interesting thing to watch.
Sejal Pietrzak:You know what else will be really interesting to watch. Trey is where you go from here. So you just finished the Impossible Dream album and now what I mean? We know you have a record studio, we know you have your record label, but what else? What else is uh on on your uh future plans?
Tre Nagella:um, I'm you. I'm producing a young country artist right now here in dallas named tristan roberson. We put out a couple songs and I'm working on his album. Hopefully that that'll be done by January or February Cool Working on the record label. My partner is in the Latin music space, so we have two artists that we're working on, one of them's having some decent success right now with a song that's kind of going a little bit viral, which is interesting because I do not speak spanish and I do not come from the latin world, so I don't even know what these songs are about half the time that we're putting out on my label. But it's cool to do the business aspect of it. So I've spent my career on what I consider the front end, doing the creative being in the studio, and so the back end is once the album is done. What do you do with that? How do you generate revenue from that? So I'm kind of learning and wanting to focus on another aspect of my career on that side of it now. So we'll see what happens.
Georgianna Moreland :What's the name of the artist? Troy? Give us the name of the artist and the name of the song we have two.
Tre Nagella:One artist name is kiki k-i-k-i-i-i and we have another artist named los del north texas. This translates to the guys from north texas. They have a song out right now called perla. That's about to hit 4 million streams so it kind of went viral on TikTok. So we're riding that wave as of right now. So we're doing another album for them. Kiki just released a new song last week and we have a video coming out for that um, and then we'll see what happens next year.
Tre Nagella:As far as like what artists. That's one thing. That's exciting and kind of scary all at the same time is, I can finish an album and be all excited. Hey, this album went out, it's doing great. And then you go now, what? Now, what? Where's the next project? What am I gonna do?
Sejal Pietrzak:hopefully my phone's gonna ring or I'm someone's gonna want to work with me again and then on the opposite side, you may finish your project, think all right, I've got some time off. And then the next thing you know, you get a call yeah, I've.
Tre Nagella:I used to. I used to worry a lot when the when things were slow and kind of have a little bit of a panic. But I've learned now it just sort of ebbs and flows, and so if it slows down instead of worrying, just sort of enjoybbs and flows. And so if it slows down instead of worrying, just sort of enjoy the downtime.
Monica Enand:Do you have any advice for young listeners who might be aspiring to be in the music industry and in different aspects of the music industry?
Tre Nagella:That's a great question because I get a lot of young people asking. I would say it requires sacrifice. I know that's not the most popular answer. You know, when I got into this as a behind-the-scenes person, it was not glamour, right. In fact I won't tell the whole funny story but I didn't realize that engineers and producers and people like myself even won Grammys or got platinum records and I thought that was for the star, that was for the artist.
Tre Nagella:And now I see a big trend in young people where the minute they walk into the studio or the minute they meet me, the first thing they say is like I want a platinum record, I want to win a Grammy, I want to work with so-and-so. And I think it's great to have those aspirations and dreams and that's fine. But I would say, focus more on the craft and the success will come hopefully. But if you're going into this to try to win an award, that's probably not the best path and you're highly going to. You're very likely to be disappointed. Like I said at the beginning, there's a million super talented people who even have great careers, but they don't win awards or whatever. So if you're getting into this for those types of reasons, you're kind of getting into it for the wrong thing. You have to do this because you really just have a passion for it.
Sejal Pietrzak:I think what you're saying about sacrifice and then also doing something because you have passion for it and then just working on your craft is actually the case in almost any career. I mean I think about Monica and I, you know, being in software and technology companies. That's exactly what I say to people too. You know, when I was a CEO, I mean it was every single day, seven days a week sacrifice. You're working around the clock, even as you're starting out. It's the same Working around the clock to be able to make your way and you're sacrificing. You got to do it because you love it.
Tre Nagella:Yeah, everyone I know all of my colleagues that have been successful in this business. They all sacrificed a lot at some point. Now maybe, as they're more established or they get older, they have the luxury of not doing that as much. But we've all worked late nights, we've all done weekends, we've all missed time with family or spouses or girlfriends or whatever the case. It's just part of it. And I'm just noticing, with the younger generation coming in, it's like they want all the glitz and the glamour and the success but they don't seem to want to do the work quite as much.
Tre Nagella:I actually had a guy tell me one time you know he was getting a little bit frustrated saying you know you're getting to do this album and that album and work with this artist and you get to do all these cool projects and I'm just back here working with the you know, the new artists. That maybe isn't the best. Or I'm doing more corporate type stuff, I'm doing radio commercials and voiceovers, and you know. And I said well, hey, man, if you want to do what I do, you're around me every day, just watch what I do and sort of follow my lead. And with no hesitation he looked me square in the eye and said I don't want to do what you do. You work too hard.
Monica Enand:Those are choices that people make. Yeah, and it's absolutely right.
Sejal Pietrzak:And then and then there are people who get to you know, be where they're at in their careers and to be at the top, and then there's people who don't, right, yeah.
Tre Nagella:Within six months he was out of the business completely. You know, and I know it looks. I know now, looking at me at this stage of my career, a lot of people think it looks glamorous or it looks so cool. But when they see, I think if you were to see my day to day and still how hard I work, it doesn't seem quite as glamorous. You know I put in six and sometimes seven days a week. I consistently do 60 or more hours. You know there's still a lot of sacrifice, even 20 something years into this.
Georgianna Moreland :Well, trian, that's why I wanted you to come talk to us today. That's, honestly part of the reason that we invited you today. You're going to be our Grammy episode, right? So we're going to run this episode during Grammy season, but I wanted people to understand the heart of a Grammy winner. I mean, as long as I've known you, you are probably the kindest, nicest, most mellow human being that you know, one of the people that I've met, and you're all about the work, you know, and I told the story about me being able to unbox your Grammy because it wasn't about that for you. We were in the studio and you were working and it's all about the work, right? So you're a true artist and I have a lot of respect for you in every way. So I'm just so thankful that you're able to come and speak with us today and super excited that you're here and to show I have to say that.
Monica Enand:Trey, that comes through. Like when Georgiana told us about you, she said you would never guess that this guy is like this crazy Grammy award winner. I mean, I know we're focusing on awards, but it's also just who you've collaborated with, the amazing stars and the amazing amount of work that you've gotten done in your career. And she said all of that. And then she said you know, but he's like a down to earth, you know, grounded human being that just really works on his craft. And it is so clear that that comes out. And I think that's a great role model and a great thing to pass on to the next generation, because I don't think everybody realizes the grinded out of the behind the scenes and how much work it is and that there is no moment when you arrive and then it's done. Um, you kind of have to. You know, I always used to say like you don't buy success, you rent it and the rent is due every single day, like you're constantly needing to, needing to keep up with it yeah, that's very true.
Tre Nagella:Well, I that's very kind words and I appreciate the compliment a lot. Um, you know, I'm just a music fan. I'm lucky to get to do this for a living. I know that there's millions and millions of people that would love to do music or any kind of art in general and make a living at it, and it is very difficult. There's a reason. There's, you know, starving artists and broke musician stereotypes, because they're pretty true and I've been fortunate to be able to make a living in this for a long time. And, um, I'm around such talented people every day. You know that it's it's hard to get a big ego. I guess people ask me like, how do you stay humble? I'm like I don't know. I'm around, I admire the people I get to work with so much that who am I to think I have? You know that I'm all that when I'm around all this talent every day.
Sejal Pietrzak:So who's your dream artist to collaborate with?
Tre Nagella:Jamiroquai. It's a mix of new, futuristic sounds but still also kind of vintage, like disco, funk thing from the 70s. And then he also uses a mix of organic instruments, being like real drums, real guitar, real bass, and then futuristic stuff. So kind of a weird mishmash of old and new and vintage and I don't know. He's been one of my favorite artists since I was a teenager.
Georgianna Moreland :Does he know it?
Tre Nagella:Probably not. So, jay, if you're listening, I want to work on your next record.
Monica Enand:All right, we'll send it to him. What's the top five songs on your playlist right now? Wow Songs.
Tre Nagella:I don't know if I could name songs on your playlist right now Wow songs. I don't know if I could name songs, but I could definitely list you a handful of people that I've been listening to their albums. I've been listening to Billie Eilish's latest record. I love the production. Her and her brother are an incredible team. I've been listening to Eon's album that Giorgiano was part of. The Dallas String Quartet did an album called Romani. I've been listening to that. I've been listening to a hard rock group called Bad Omens. They're kind of a Linkin Park-ish. They're actually on tour with Linkin Park right now. Been checking that out working on more country. I've been listening to a little bit more country lately. Tour of Lincoln Park right now. Been checking that out Working on More Country. I've been listening to a little bit more country lately, so I've been hooked on the Shaboozy album.
Tre Nagella:He's got a really interesting mix of it's country, but it's really unique and modern, which I like. Is that four or five one?
Georgianna Moreland :more.
Tre Nagella:I didn't work on it, but he's a good buddy of mine. There's an artist named Andy Timmons and he's a guitar player kind of a guitar virtuoso and being a guitar player myself, I've been hooked. He just put out a new single called love is greater than war and I've been checking that out on repeat in my car the last few days, wishing that one day maybe I'll be able to play like him. It probably won't happen. I'll leave that up to him.
Georgianna Moreland :Okay. So I have another funny story to tell about Billie Eilish. So Sejal and I were at the LACMA gala in New York not New York in LA a couple of years ago and there was this lady beside us in her pajamas it was sponsored by Gucci, with a blanket around her, and we're like, oh my gosh, we love your pajamas and it was Billie Eilish. We had no idea that was right, Right. So she was like, okay, thanks.
Sejal Pietrzak:I mean, we were dressed up to the nines, right, we were in ball gowns and whatever. And there she was in pajamas and she looked better than anybody With her eye mask and the whole thing, matt and eye mask.
Georgianna Moreland :We were like, hey, cool pajamas.
Tre Nagella:Cool pajamas, that's funny.
Georgianna Moreland :Oh my gosh, I'm sure she didn't mind. Oh, she thought it was funny. It was, you know, hey, whatever. Okay, so if you weren't in music at this stage in your life, what else would you be doing?
Tre Nagella:that's tough, because this is all I've ever done. Um, I think I would probably do something with real estate. I know it might seem silly, but I used to want to be an architect and so I just think buildings in general are neat and I know that it's a pretty stable way to make a living. It can be very lucrative. So I think I would probably want to do something in real estate, completely outside of music.
Georgianna Moreland :Well, you know what's funny about that In Monica's open when she said welcome to Masterstroke. Today's episode promises to be a deep dive into the heart of the music industry with one of its most talented architects.
Tre Nagella:That's true, she did say that.
Georgianna Moreland :So there you go, you're building something.
Tre Nagella:I'm trying to build and I've found the last four or five years of my career I've started considering myself more less of just like an engineer or a producer and more of a music entrepreneur. And so to come back to your question, I don't know what it would be, but I'm really falling in love with entrepreneurship in general. So I think a lot of those characteristics or skill sets kind of carry over right. It wouldn't matter what business being an entrepreneur is.
Monica Enand:being an entrepreneur Be careful, though it's addictive, that entrepreneurship.
Georgianna Moreland :You're talking to the queen of entrepreneurship, right there with Monica Enid.
Tre Nagella:Oh, maybe I need some lessons. Maybe I need to be interviewing you after this is over.
Sejal Pietrzak:Well, she gives lots of great lessons at many of our episodes. Go ahead, Monica, oh.
Monica Enand:I was going to say and of course you have to listen to my daughter, because she's a fabulous singer, I promise.
Georgianna Moreland :You could trade.
Sejal Pietrzak:I was thinking it has been super fun to have you on the show, Trey, and good luck at the Grammys. Super excited for Impossible Dream and we'll be screaming for it on the TV and thank you so much for being on our show today.
Tre Nagella:Thank you all for having me. It was a real pleasure and delight highlight of my day and I hope that I wish you guys all the best. With your podcasts, I hope you get millions and millions of listeners.
Georgianna Moreland :Thank you for listening today. We would love for you to follow and subscribe. Monica and Sejo would love to hear from you. You can text us directly from the link in the show notes of this episode. You can also find us on the LinkedIn page at Masterstroke Podcast with Monica Enid and Sejo Petrzak. Until next time.