Episode 92: How to Build a Music Career Without Permission (Audience, Data & Strategy)

What if the power in music has already shifted—and you just need the receipts to prove it? We sit down with Nashville and LA veteran Jason Hollis to unpack a modern blueprint for building leverage, owning your audience, and turning proof into power. From MySpace-era heat maps to TikTok verse-to-chorus teasers, Jason shows how artists can create undeniable momentum that attracts partners on their terms.

We dig into the tactical steps that transform interest into leverage: mapping tours to real fan demand, stacking analytics you can walk into any negotiation with, and sparking buzz that leads to multiple offers instead of one fragile bet. Jason shares the Pink Spiders playbook, including the art of generating industry attention without begging for it, and the critical lesson of guarding rights such as digital likeness when the papers hit the table.

The conversation moves from mindset to method. Jason argues for a no-permission approach: start today, be consistent, and show up prepared like a pro. He breaks down how posting work-in-progress snippets invites fans into the creative process and turns casual followers into early superfans who move streams, pre-saves, and tickets. We compare the textures of Nashville and Los Angeles—songwriter culture and access versus sprawling networks—and then zoom out to the internet’s bigger promise: you can build a global career from any bedroom with the right content and cadence.

Confidence in elite rooms takes practice, not posturing. Jason explains how to present ideas clearly, set the tone the second you enter, and match the discipline of A-list talent. He makes a compelling case for studying music history—Motown’s systems under Berry Gordy, Andrew Loog Oldham’s marketing instincts—so you can borrow blueprints, speak the same creative shorthand, and spot cycles before they hit the charts. If you’re ready to trade permission for proof and strategy for guesswork, this one’s your map.

If this resonated, follow the show, share it with a friend who’s building, and leave a quick review so more artists can find it. Got a question about the music business? Send it our way and tell us what you want to hear next.

https://www.instagram.com/itshollis/

Transcript

SPEAKER_01 0:14

Hello, and welcome to the music business, buddy, with me, Johnny Amos Podcasting out of Birmingham in England. I'm the author of the book, The Music Business for Music Creators. I am a music creator myself. I'm a producer, I'm a consultant, an artist manager, and a senior lecturer in both music business and music creation. Wherever you are, whatever you do, consider yourself welcome to this podcast and to a part of this community. My goal here, everybody, is simple. I'm trying to educate and inspire music creators from anywhere in the world in their quest to achieving their goals by gaining a greater understanding of the business of music. Okay, so in this week's episode, I'm joined by a guest by the name of Jason Hollis. Now, Jason is a multifaceted entrepreneur and veteran of the music industry. He's Nashville-based, he's been in LA for a long time, too. Um, he's seen a lot of things come and go and change in the music industry. Uh, he's a producer, uh, he owns a co-owns a venue in Nashville. He's an author. He does all sorts of different things. And one of the things that really fascinates me about his work is he's very well known for his keynotes, right? His keynote speeches that where he kind of explains to artists how to build a career, what to look out for, uh, how to use data as leverage, and how to kind of build connections. Um, and also his idea of not asking for permission, right? Which is something that he will allude to in this interview. Um, he's well known for that aspect of his career, amongst many other things. Um, he's a really interesting guy. He's very empowering, very, very resourceful. Um, so I hope that you get a lot out of listening to him. And I'm gonna hand over to the interview now.

Oasis At Wembley And Live Show Magic

SPEAKER_02 2:00

Uh I was just over there in your part of the world. Um oh, whenever. I was I was there for Oasis at um uh at Wembley. Oh man, it was like a Premier League championship match with everybody in the stadium rooting for the same team. It was absolutely epic. Uh, you know, I've seen shows all over the world, big and small. I've never seen anything like this in my life, ever. It was such a magical thing. Um really wow. Yeah, man, because you see, you see, you know, guys my age who grew up with the Oasis and their and their, you know, 15-year-old sons, you know, in the gear, uh, knowing every word. Like it was just it was epic, man. Um just I've never seen anything like it, ever. It's probably the best show I've ever seen in my life.

SPEAKER_01 3:01

Uh that's uh you see, I I I was one of the unfortunate people that wasn't able to get get a ticket for that that reunion tour. Um, but uh I was at Nebworth in '96 uh and saw the men. So you know, you've said that. That's my that's my trouble card. You know, you know.

SPEAKER_02 3:20

Only 250,000 other people's talk.

Build Leverage, Own The Audience

SPEAKER_01 3:24

Yeah, yeah, yeah. That's it. That's it. It was uh wow. Um it's good, it's good to meet you. Yeah, I've I've heard a lot about you. I've read a lot about you. You've done all sorts of wonderful things throughout your career so far. Um, can I can I start by kind of asking you about um about one of your quotes, right, from one of your your signature talk, The Machine, right? Where you say, build leverage, own the audience. Right. It's a great statement. Yeah. Um can you elaborate on it a little bit?

MySpace Analytics And Touring Strategy

Creating Buzz And Negotiating Record Deals

SPEAKER_02 3:54

So the the the old model of the the record industry is completely dead, you know, like what like guys like like us grew up on. Um, that model where, you know, when I was 15 years old, you know, you were in a in a garage band, um, and you know, everybody in in your band was wearing, you know, a Capitol Records t-shirt or Epic or Casablanca or, you know, record labels were really a um a significant piece in in youth when I was growing up. Um and it was because of like it was the development side of things. It's really like, you know, when I when I was coming up, I I really uh studied artist development. Andrew Lug Oldham, who discovered the Rolling Stones, Ahmed Artigan, um, just all these different guys. And that that business model that we knew is is completely gone. You know, there is no more artist development. Um, we're in this new model where the artist really kind of is is the is the label, they are the distributor, they are the network. Um and my philosophy has always been kind of like this new model. It's always build leverage and um and hold receipts. And by that I mean um for for example, uh, I had a I had a band um that I started working with in the late 90s called the Pink Spiders. They were there were a band here in Nashville um that I started working with. And I had moved to Los Angeles at the time. Um uh at the time that the band really started kind of catching fire. Uh that was around 2004. Um that that band in particular, you know, we used, we used MySpace at the time. MySpace was that was the big music platform. Um it had a it was it was it was great for artists, it was great for users. Um great for artists in the sense that we had all this robust backend analytics. You had heat maps, you knew where your you knew where your fans were located. Um, you could plot touring around heat maps, um, you had forums that you could build, you had so many ways to to contact and and be in touch with your audience. You know, you had mailing lists, you had all of this stuff built in. Uh, we we booked 250 shows a year for the band, um, toured them all over the states, and really started cultivating and creating leverage, um, meaning we had there was 100,000 fans on MySpace. You know, we were touring 250 days a year, selling tons of merch, getting lots of streams. And by that time, all the all the record labels started contacting us. So you we'd get AR letters or emails. And um, you know, through through that leverage, I, you know, I kind of I kind of used my network in in Los Angeles. I didn't have a big network in 2005. Uh, I'd signed a couple of bands, but still I was I was still a you know kind of a pawn in in the game of chess. And um, so what I did was I used my network of like assistants. So I I had a really good friend named Rachel Ryan. Rachel was the um uh she was the assistant for Polly Anthony, and Paulie was the co-president of Geffen Records. And so our our goal was to slide this band into Polly Anthony's inbox, basically. And um she didn't like the band. So what Rachel, Rachel and I comprised this this little scheme to use her network of all of the different um like assistants for different heads of labels and start passing around that this band was getting getting AR letters from everyone. Everybody wanted this band. So we kind of created a little bit of a buzz with that. Um and then we brought the band into LA and um did a show at the did a showcase at the Viber room, and then that led into a a bi-coastal bidding war. And by leverage, I mean what I mean by that is you know, we went out and we really AR'd that band, you know, we got them moving. Um, we we built tangibles, uh, we built assets that a label could look at. Uh, we built a number of fan base. And and what that did was it it gave us leverage in negotiating this the record deal. Um, and in 2005, that was kind of the we were kind of on the end of the the last record deal, record deal before it became simply just 360. So we had some leverage going in um to be able to negotiate. And had we not done all of this work with the band and had all of these analytics, um, we we wouldn't be in a position to go in and really negotiate. And we we did. We negotiated hard because at that at that point in 2005, we were just coming into like digital likeness. And record labels wanted to own your your digital likeness. Meaning, if um, if the drummer uh did a like a cartoon and he was the voice of a cartoon, they owned his voice. So we were able to really kind of go in and and and change a lot of that stuff because we had we had leverage. Um, in this in this new model that we're in, the artists are doing all of the work. And they're doing what I was doing, I've done my whole career, which is don't wait for anybody. Just start doing and start building and make them come to you. And that's kind of the model that we're in now, is artists have all the control. Um, you know, there is no more artist development. Artists are having to do all their own development, they're having to figure out what what songs work with with uh through their fan base. Um and I think it's just a I think we're in a better time right now. This new model is something that I've been advocating for my almost my whole career. And we're in this new model now. And it's just it's it's in the hands of the artists. And uh I couldn't be more excited for it. Um, because like when you think about it, the artists now, you know, they own, they own everything. They own their content, they are the distributor, they are the marketer, you know, they are the AR, they're the publisher, they're everything. And with that, when you build online now, you're you're creating leverage. So just for example, if if you're a young artist right now, and I've seen some of this happening online, and we can talk about trends here in a little bit, but one thing that I've been seeing are like artists using their fan base um to get to get their fan base interested in their music very early on. So what you're seeing now trend wise are people just shooting like selfie videos of a uh of a verse that they just wrote, you know, and they'll sing the verse and then they'll upload that video and tell the audience, hey, I just wrote this verse. What do you think about this? If you like it, let me know what you think. Blah, blah, blah. If you like it, I'll start working on a chorus, whatever. So they're getting instant feedback from their audience. Um, now the audience is invested in this song, right? And they're wanting more. So then, you know, your next video, they're dropping a chorus. And now the audience is really invested. So by the time you keep building this thing up and you release your song, you've got a group of, it might be a small group, it might be 15, it might be 20, it might be a hundred, it might be a thousand people that are invested early on as super fans into this song. They've watched you create it. So now when you go and you launch this thing, you have a network of people that are going out and helping you push it. So I'm just really excited about kind of where we are in the music business right now, because it's something that I've I believed really needs to be the way forward for probably my whole career.

Artists As Their Own Labels Today

SPEAKER_01 13:12

Uh yeah, I I I agree. You know, uh, I think things are better now than they've been, they've ever been, uh, for a number of reasons. Um what one of the other things as well that falls in line with what you're you're talking about there, um, and I think it's something that a lot of music creators really struggle with, right? Is the idea of not asking for permission. I know that's something that you refer to quite a lot, you know, in your work. Um it it is a big hurdle for a lot of people, but it's a valuable lesson to learn, right? Um any advice you can give to people on that subject?

No Permission Needed Mindset

SPEAKER_02 13:47

Um in the old model of the music business, it was it was pick me, pick me. You know, you were kind of at the mercy of this label or or a manager or an agent. Um and they had all the power, you know. Well, you're not you're not ready, you're not, you know, you haven't toured enough, you don't have enough following. You and it was always kind of like this pick me model. Um I I'm all about like just go do it. Don't wait for anybody. Um, there's no permission needed to go and start your career. You don't, you don't, you don't need anybody. You need yourself, you need a strategy, you need a plan, and you need to you need to put the you know the time in on doing the work. Um I've always felt like to do something like this, this is a crazy business. Um, it's very difficult, you know. Uh there's a not everybody makes it, but you can have you can have a career, you know. You don't have to be a famous person to make it in the music business. Um, you can have a great career, you know, being known in your own city, really. Um you so you don't need anybody any longer. So yeah, the no the no permission thing comes back from don't wait around, don't wait for permission from anybody, you know, just get started. I've always really believed that you have to like you have to switch something in your brain. There was a point in my time in my career, it's probably pretty early on. I I think I was around like 24. Um, and I'd been in the music business for for a while. Um, but like nothing was happening, you know, lots and lots and lots of failure. And um I I remember one day just very vividly, like sitting in the in the shower, thinking, like, man, fuck this. This is terrible. You know, like, is this how it is? And I had to, I had to make this conscious decision in my brain that, like, okay, look, if this is how it is, you just have to, you really have to go for it. But you have to make a conscious decision of this is my life. This is what I I'm choosing to do for the rest of my life. This is what I want to do, good or bad. I'm gonna make the very best out of whatever, you know, my decisions. And I'm gonna absolutely 100% go for it. And because like the music business, like anything, um, it has to become a lifestyle. You really have to make it your lifestyle. You have to believe that you're a rock star. You have to believe that you're the best. You you have to believe in yourself. And with that, you know, I I firmly think that it's a it's a conscious decision that you have to make and you have to flip a switch and go, like, all right, this is it. I'm going for it. Because it might take you 20 years. You know, some people it might take, it might be overnight. Um, but within those overnight successes, you don't see the 10-year follow-up that it took them to become an overnight success, you know.

SPEAKER_01 17:20

Yeah, good point. Um, you mentioned something really interesting earlier about the idea of kind of, you know, uh a band or a singer songwriter going, hey, you know, I've written this first, let me post this, see what you think, encourage that sense of ownership amongst people. Uh are those kind of good uh initial steps, do you think? Like imagine just imagine an artist that's just starting out right now in 2026, and they go, right, where should I? I know what I want out of this, but like, where should I start? Like, what are those first steps? Are those the first steps?

SPEAKER_02 17:51

You know, I I think that, you know, when you're talking about like Gen Z and Gen Alpha, um, which that's kind of where I tend to target my audience. Um these these these kids are they're way smarter than you and I are when it comes to technology, because they they grew up on it. We've adapted to it. They've grown up on it. They have a pretty good idea of you know what what the market is is doing and what the market is saying. It's just almost like a natural instinct that I I believe that they have. Um, so they they know where to start, you know, they know what to do. They know kind of usually what what what they're gonna how how their approach is gonna be and what they're gonna do and if they're gonna what platform they're gonna use. And um so I would say the the vast majority of the artists that I'm looking at now, like I I've been watching this band out of um, I believe they're from Denmark called Lou, L-I-O-U. Um, the little girl is 12 years old, and her brother is 16 or 17. This this little girl's writing songs that are way above her um age bracket. Uh, and her and her brother are crafting these these great songs. They're using TikTok, um, they're using like Instagram or um Instagram reels and and YouTube shorts and things like that. And they're just building. Um, you know, they're putting their music out and they know how to clip it. They're writing great songs. So I think it's just, you know, it's it's wherever you feel like you have a place in how how you want to kind of start. You just have to put yourself out there. You know, the name of the game is starting. And and then and then it's consistency, repetitive. You know, you have to be consistent to keep keep going, keep dropping your song.

Crowd-Building Through Song-In-Progress Posts

SPEAKER_01 19:56

Yeah, good uh, good point. Very good point. Um let's let can ask you about Nashville, right? Because you you co-own the uh the eighth room. Um that's uh that's very cool. Well, what's what's the scene like in in in Nashville this decade in the 2020s so far?

SPEAKER_02 20:14

The scenes everywhere are interesting. Um like Nashville is is a is a songwriter town, you know? Uh a lot of songwriters here. Uh uh I mean I kind of came up like between Nashville and Los Angeles, both. Um, Los Angeles for me was very much like an industry town, um, music industry, where Nashville is an industry town, but it is really revolving around songwriters. Um, so you have a lot of songwriter rounds, um, you know, songwriter showcases, things like that. Um back in the 90s in in Nashville, you had a little bit of a different um like development style. Um, you know, like there's like a there's a main street in Nashville called Broadway. And back in the 90s, you know, an artist would start busking on like Second Avenue, and they'd work their way up Broadway to hit like Fifth Avenue, Fifth Avenue and Broadway, where some of the bigger, bigger venues were. And as you worked your way up Broadway, um the labels started coming around. So there was like a development cycle. Uh Nashville currently um downtown has become a uh more of a um like a like a touristy place, you know. So the the patterns have have really kind of changed. You still have your music venues and and clubs um that's that's very active. It's just the um you know, the the scenes. The scenes all change, you know, the scenes change. London was very different in the 90s for me than it is currently, you know, the scene. Um but yeah, it's um N Nashville's very, very songwriter-based.

SPEAKER_01 22:16

Yeah, yeah. Well, I mean, nothing ever kind of, you know, stands still, does it? Things change all the time, as they should, right? You know, otherwise places become preoccupied by their past and and and whatnot. Um let's talk about the LA scene, right? Because you spent a great deal of time, you know, in LA. Um how how does the culture there compare to to musically? You talked there about the idea of kind of Nashville being more of a songwriter kind of place and you know, an LA still. But you're almost kind of like being like the hub of the pop world, right? Is it is it still like that now? Does it still feel that way?

Where To Start In 2026 As A New Artist

Nashville’s Songwriter Culture And Scene Shifts

SPEAKER_02 22:51

It's definitely changed. Like I said, Los Angeles is far more industry-based. Um, Nashville and New York both I I felt were very industry heavy, where I believe like a place like Nashville is a bit more artist driven. Um L LA LA is just LA is LA. You know, it's it's who you know, it's it's your network. It's a hard, it's a hard industry to get into. Um, you know, it'll take you five years to get just into the into the business side there. And it'll take you another 10 to really establish your contacts. But it's it's um, it's it's a yeah, they're very different vibes. It's just very different. Um, you know, I don't know, man. I've I've seen a lot of there's a lot of lot Los Angeles and New York moving to Nashville right now. Nashville's kind of a a hot spot, um, just because the it's just uh it's a it's a smaller, it's a smaller place. Um, and we have all of the all the industries here. Spotify's here, Apple Music's here, Amazon Music's here, all the record companies here, all the agencies are here. Um, and it's it's like like Los Angeles, for example, is it's hard to get around, right? So if you live in Hollywood, the record labels are in Santa Monica, they're in Hollywood, they're in Burbank, um they're spread out. You know, takes you a half half, you know, you have to spend your day plotting out, trying to get around there. And then they're fortresses. You can't just, you know, you can't get into them. In Nashville, it's, you know, it's a you're talking about a 15, 15 mile loop, and everything is within that loop. Um, all the labels are accessible. It's just, it's easy to network and and get around. So I think when you're, you know, the the the great thing about where we are right now, though, for artists, is we have the internet. And you don't have to leave your, you know, your house if you live in, you know, Mississippi somewhere and you're like, I want to be an artist. You can sit in your bedroom and you can build a fan, fan base, you can build a following, you can start building a you know, a touring route. You can do everything that fr from your home. Where when I was coming up, you know, you I felt like you you had to be in Nashville, New York, or Los Angeles. You had to be there. You wanted to be seen, or if you wanted to get into the industry, or if you wanted to be noticed. And now it's just, it's completely, it's completely changed. You know, anybody in any bedroom, anywhere in the world, can be in the in the music industry. And I think that's great because it really opens us up to um discovery, you know, discovery mode, and then also uh consuming things, consuming things from around the world now, you know. I listen to stuff from everywhere, you know, all over the world now. And the discovery platform I use is is Instagram or or TikTok. Usually Instagram, because Instagram has a um has a feature um that you can go up to in your settings and you can go look at your um your your algorithm uh for Instagram, and you can go in and you can put um new music or new artists or new artists in Japan, new artists in in London, new artists in Manchester, Birmingham, Glasgow, Hawaii, wherever, and you can filter things and your algorithm will adapt to that. And then you're just looking at all these new artists. So I think the discovery model is completely different. It's not just radio any longer. It's not um, you know, big labels pushing out, you know, what you should listen to. It's we're back to real discovery mode, which I think is just absolutely fantastic. And anybody in the world has access to it.

SPEAKER_01 27:20

Yeah, yeah. That's it, that's a good point. Um, I suppose there is kind of one downside to that, and that it is um in the inability sometimes for for the younger generation to know how to behave when they're around well-known people. If they're not used to that, well, if for anybody that's not used to that, right? But when there's less human interaction when it comes to those fantastic things that you're talking about there, it can be a challenge sometimes for people that are kind of they're finding their way into the music industry to know how to behave around well-known people, right? It's something that I've talked about before on the podcast with some other guests uh in the past. I mean, you've you you've worked with, you know, the likes of Pharrell Williams, Justin Timberlake, you know. Is there any advice that you can give to people in that regard, you know, in in come in terms of being prepared to know how to behave around people?

SPEAKER_02 28:18

The upper echelon of talent. Um these guys are pros. You know, you're you're walking into a situation and you're expected to work and come in with ideas and um so I I don't, you know, I I've I've never had like been starstruck. You know, I've just I've I've been around famous people for my whole life almost. And I I think that you know, what once you get into the to the mind frame of um these are guys doing what they love to do and they're serious about what what they're doing, you have to be equally as serious about what you do. So when you walk in, if you throw an idea out or if you correct something, you have to be confident in in your ability and and confident with you know what what it is that you're suggesting or saying. So I I just think that there is a level of of any room that you walk into, you you have to remember that um your appearance and and the energy of you walking through that that door sets the tone. Um so I always tell people, you know, every single day you should look and act and dress dress the part that that you want to become. So I think it's really just about having the confidence of walking in, you know, looking the part and and and being confident of walking into that room and knowing these people went through this, you know, the same, the same things on a different level that you're going through. And um I think you just have to walk in and you just have to um you have to know who you are, really.

LA Industry Networks Versus Nashville Access

SPEAKER_01 30:19

Yeah, good uh, good good advice. Um finally, Jason, I'd love to ask you a little bit more about you because you've done all sorts of different things in the music business, and you're known to many different people in different aspects of the music business as for playing different roles. Um, and you know, what what what are your ideals moving forward from here? Like are you still producing and stuff?

You Can Build A Career From Anywhere

SPEAKER_02 30:47

Producing for sure. Um I think you know, kind of kind of moving forward with me, it's it's really about um, you know, I I want to take everything that I've learned in 30 years of doing this and really start giving back um and and kind of teaching younger kids everything that I've learned because there is a strategy behind this um this madness, you know. And I think the reason I've I've been able to kind of jump into lots of different roles is because I strategize, you know, I know there's there's there's multiple kind of multiple levels to to this answer for you, but strategy is is one thing. Really knowing how to how to go in and um you know either read the room, read the project, and and walk in with X, Y, and Z is what we need to do to move the needle. Um, and then have the plan to be able to execute that. That's one thing. But also I think that um you really have to know history. You know, I think it's very important. I was doing a lecture um last week at a uh MTSU School of Music here in Tennessee, and um I was talking a little bit about history, and you just kind of saw everybody go blank. And when I was coming up, I read every book about everybody that I could get my hands on, whether it was artist development, marketing, um, everything you need to know about the music business by Donald Passman. I read everything that you could read. And then not only that, but I started studying music, like really studying music. I mean, because you can go back to like the Renaissance era and you can look at like every decade from the Renaissance era, how the music changed every decade. The music changed, the the styling changed, the vocabulary changed. You know, you can move that to the 1950s and look at the 50s, and you know, uh the the way people dressed and songs were about surfing or sock hops or taking your girl to the dance. You look at the 60s and the 70s, and everything has a a time stamp on it. And I think that that's one thing that I've found now with some of the the younger kids is they're not really studying history. You know, what what they know is what's on what's on their phone. Um, and I think that some of the confidence and some of the strategy that I've I've obtained in my life is is really from understanding history, because history repeats itself. And the more you know about the music business or music in general about the past, the more you can you can take into the future. Um, or you can go and you can rewrite your own future, you know. Um but yeah, I think that that you really have to have a strategy and you you most definitely need to know history. Uh, because that that's going to come up constantly. Like one thing like with Pharrell, um, with multiple artists, you know, you'd get in and and they'd start talking about like a punk rock band from the 1970s, you know? And you you need to be able to jump into that conversation, know who they're talking about, and be able to add to that conversation. Those that history breaks walls down very quickly.

SPEAKER_01 34:41

That's a very good point. Um, I find myself like totally nodding along and agreeing with you. And and yet I don't think anyone's ever spoke about that before on this podcast with me. I think it's almost like a a given that um that people have uh a certain knowledge of of certain decades, of certain styles, or whatever. But of course, the more we know, the more resourceful, the more useful we become to other people, whether that's creatively in the room or strategically in a different room, or well, you know, like if you go back and you look at um Motown, for example, you know, Barry Gordy was a genius.

SPEAKER_02 35:21

You know, he he was Barry Gordy was the new model of the music business before there was a model. And if you go back and you really kind of study how Barry Gory, Barry Gordy set up Motown and how he developed artists and how he developed songwriters and how he published and how he how he put records out, it's an it's an absolute blueprint. You know, it's an it's a blueprint. Like I studied Andrew Luke Oldham, who was the 17-year-old genius that discovered the Rolling Stones. Um, how he went and in his his marketing mind or his PR mind, um, there's so much information and and books that people just they give you. They give you blueprints. And I think that that's one thing that I would really like to see younger people do is dive into history and understanding who the forefathers were that kind of set this thing up. Because again, the more you know history-wise, the more you're able to go in and and and rewrite or write your own future.

Discovery Tools On Instagram And TikTok

SPEAKER_01 36:38

It's just it's important. Um I appreciate that. And a perfect note to end on as well. Jason, thank you so much for your time, for your kindness, for your your insight. You're a great guy. My God, you you you are you are such a rock star, by the way, as well, man. And yeah, do you know here's an interesting thing. Uh I I I'll share this with you before we wrap up, right? What when when I used to tour quite a lot several years ago, whenever I used to tour with an American musician, I'd always ask them a question because I'm I'm fascinated by the answers to this one. So I'll ask it to you as well. Um, who do you think are the greatest American rock band there's ever been?

SPEAKER_02 37:18

The greatest American rock band?

SPEAKER_01 37:22

Oh my goodness, we left that on a cliffhanger there, didn't we? Sorry, everybody, that was not a part of the uh editorial process by any means. We actually dropped connections towards the end of the call there, uh, which was weird, right? Because we actually did leave it on quite an interesting question. Uh, just for the benefit of anybody that's wondering, uh, what Jason actually answered was uh was uh either the Foo Fighters or the Eagles, right? Very interesting question, though, right? Greatest American rock band of all time. I feel like I'm running a pub quiz here, but anyway, I just didn't want to leave you on that kind of cliffhanger there. Um, I hope that you enjoyed uh everything that Jason had to say. He's an interesting guy, isn't he? He knows his onions. And what a cool dude, by the way, as well. I think he would be fun to have a few drinks with, wouldn't he? You know? Um maybe that will happen someday. Uh I'd love that to happen. He's a great guy, very, very cool customer. Uh, I hope that you enjoyed uh what he that what he had to say. I know I certainly enjoyed uh talking to him, listening to him, um, and just absorbing his views on everything that he knows, right? And I'll be interested to see where he goes next, right? You know, this whole path of musical evolution. Everyone's got their journey, right? Everyone's got their own kind of path of where they go and what happens next. Every day is a gambler, you never know what's coming next, right? But wherever he goes, whatever Ruby's in, I'm sure it'll be a fun place. Uh so I thank him for his time, and I thank you for your time for uh for sticking with me, right? During all this all this podcasting that I now do, right? I appreciate you being here. Uh, I do this to try and help people, right? So if there's anything that you think, how does that work in music, or how do I need to, how does this work over here? What does that mean? Just reach out to me, right? I'm a friendly dude, I'm here to help. That's the whole point of me being here and doing this. So wherever you are, have a great day. Until next time, everybody, may the force be with you.