You'll Hear It: Full Album Deep Dives with Jazz Musicians - Gig Marketing: 7 Ways to Put Butts in Seats

Episode Date: May 27, 2019

On today's episode, Peter and Adam give some advice on how to market your gigs to help grow your audience.How to Market Gigs:PracticeOnline presence (website/social media)Create a concept or theme for the showLivestream a gigKeep a regular scheduleRingerWord of mouthULTIMATE TIPAnd have a listen to the Live @ Open Studio: Brazil Edition gig mentioned in this episode here: https://youtu.be/qQNV6WNQXDcLet us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel and leave a comment for this episode.Interested in more jazz advice? Go here to browse our catalog of jazz lessons and courses available for purchase.Follow us on Facebook, Twitter & Instagram at:https://www.facebook.com/heyopenstudiohttps://twitter.com/heyopenstudiohttps://www.instagram.com/heyopenstudio See acast.com/privacy for privacy and opt-out information.

Hey, Adam. What's up? Do you like to shop at a farmer's market? I do like to shop at a farmer's market. So you're into marketing. I'm into marketing. Only that kind of marketing, though. Good.

I'm Adam Manus. And I'm Peter Martin. You're listening to The You'll Hear of Podcast. Daily Jazz Advice coming at you. Coming at you. Today's episode of the You'll Hear at podcast is brought to you by Open Studio. We have a special deal for our You'll Hear at listeners. Let's know what you do.

Okay, we'll save it. Because this is all about marketing. This is all about marketing. That was secret tip number one. That's right. Well, it's funny that you said you're not into marketing. And today for YouTube, what's up, YouTube? Keep on documenting.

But you are a virtual marketing machine visually today. You've got the Open Studio T-shirt, branding. Yeah, yeah. You've got the St. Louis Cardinals old school throwback, snapback, trucker's hat. Got to represent. You know what I'm saying? And I like the connection between the two. This is not an official endorsement from the St. Louis Cardinals of Open Studio,

nor is an official endorsement of the St. Louis Cardinals by Open Studio, right? I personally endorse the Cardinals, and if anybody asks when they call Open Studio, I'm going to say, yes, we do. Because we're St. Louis, we're hometown. You know what I'm saying? See, now we're easing into this marketing thing. Question, though, to the CEO, when do we get in our corporate box? That's TBA or TBD, or both.

Depends on how this offer goes at the end of the project. That's right, right, right, right. So today we do want to talk about some marketing, but some gig marketing. gig marketing. You know, in today's current musical industry climate, so much of this not only is available for musicians to do themselves, but really imperative that musicians are even required by certain promoters and clubs, apparently. Some venues, yeah, like, we'll check your followers on social media.

Yeah, and I think we lost that. I remember there being a battle, and you still hear it sometimes kind of, maybe not a battle, but a little bit of a push and pull, a little bit of tension between musicians, artists, and promoters, club owners or whatever in terms of whose responsibility is it to market the gig, to promote the gig. And we're going to talk about promotion and marketing

because they're not the same thing either, and we kind of get those confused. But do you remember the time when it was entirely the responsibility of the promoter and or club to market the gig? And it was our responsibility to get the music ready and probably not make very much money, but whatever, that's all we had to do.

Do you remember that? I do remember that time. In the battles of artists, versus anybody else. Artists are always going to lose this kind of stuff. Right. We're just so unorganized

and uninterested. And we're desperate. And look, let's talk about why we're desperate. This could be its own seven reasons. Oh, my goodness. Because we love this. We love to get up and play.

And they know that. They know that. Everybody knows it. The audience, the radio station. So it's not about, I mean, yeah, we are disorganized too, maybe. But even when we get organized,

we don't really have leverage because we want to be there. And sometimes it's like, why are we playing for free? Why are we doing cheap gigs? Yeah. Because we would do it for free. I've noticed something

good actually about when you have leverage or have some kind of power in these situations, you really are good at leveraging that power or leveraging your artistic integrity when I think that's inspiring. And other people need to do that more. No, I think it needs to be done it. Yeah, I've definitely learned that being around. I mean, Betty Carter, getting a chance to play with her when I was very young was such a great example of that. She was such an excellent, I mean, obviously vocalist and innovator in the music, but she was also very innovated on the business tip, as we would say, an excellent market of herself, but very aware of like that relationship and her power,

you know, but in an appropriate way, like very realistic about that. You've got to back it up. Exactly. Now, you can say that's easy to do when you've got a great career like hers, but she built that. It wasn't just about the singing.

And you kind of teach people how to treat you in this industry. You know, you are teaching them how to behave towards you. But basically we love to play. Yeah, we'll get in all this. So this is seven ways to put butts in the seats. I love that, man. Yeah, me too. With the butts and seats.

Okay, so first of all, let's just talk real quick about, because are we, yeah, we are calling this gig marketing. Yeah. You know, just to be clear, my understanding, or at least the way we're going to use this today, you know, marketing is really, this is not necessarily advertising or promotion. That may be a part of it. But marketing is just about getting people or entities that may be interested or inquisitive or have a problem that they want to solve as. And I want to hear some jazz in this case to the product, which is us probably on a gig or a CD or whatever in this case. seats to a gig. So it's just getting that awareness and getting them, there's all different ways that we do that and that's kind of what we're going to go through. But that's really

with the marketing end. Finding your audience. Finding your audience. That's what it's right. So number one is number one for a reason. Listen. No. Oh no. But close. Yeah. Practice. Practice. Oh, wow. We still got a practice. Yeah. Yeah. Oh, we can't just get a BAA or BS in marketing. You know, I know you did some of these Webster University master classes with Brian Owens last year. And we were talking a lot about marketing or whatever and I always start off whenever I have conversations about two young people about this kind of thing with most of your marketing is done in the practice route right done the practice room like how many people have you gone to see based solely upon sponsored Facebook posts exactly you know what I mean well and if you did and they it was not really

happening then what happens yeah you'll never ever ever ever go see them again but how many people because you know a friend of yours was like oh this this group is badass you have to see them You're going to go see that band. When I think to everything else that we're going to say after this is really going to be useless if you're not practicing, if you don't have a good product, if you don't have an interesting thing, if you're not developing. If you're not an inspired musician with a product, I hate to be so crass to call us a product, but that's what it is. To provide all this is going to be for naught, pretty much. And that's why this is number one. You have to get your art in the strongest place possible so that you connect with an audience.

And all of this actually gets a lot easier when you go at that. And I remember when people used to be like, man, what kind of should I get a business? business card should I do this and I hear you I mean no one's talking about that anymore but the equivalent of it is like do you think I should put this on Instagram should I do whatever yeah yeah yeah and when it's a young musician that can't play I'm like once you go practice why don't you learn this or whatever yeah that other stuff is the easy part to figure out if you have something to promote and to put out there and and to mark that's right people will talk people talk don't market and try to track people to something that's that's no good word okay number two yeah

having said that once your once your artistic vision is strong and executable. Get a strong website slash some kind of social media presence that you can put your music out there. People can hear examples of what you're gonna possibly play at the concert. You know what I mean?

Yeah, I guess we could just kind of call this an online presence in a way and to make this evergreen. Yeah, I mean, a lot of people insist on having a website. I've never had my own website. Really? Yeah.

What happens if we go to adamantus.com? I don't know. I wouldn't try it. But I mean, so I get that like for some people that's a really strong thing, but for me, I don't know, I've been able to make it happen without having that so far. Yeah. And this is where it gets into like this can change over time. And this doesn't really matter because this is more of a almost in some ways of fad. Yeah.

The whole thing about the online presence, you just want to go and we'll get into this later on one of the last ones. But you want to go where your audience is. And sometimes you're going to define what that is. The whole, the beauty. And I think the reason we have this is number two, having an online presence. is because it's something that for a relatively low cost, we can control as a musician. Maybe if there's management team or whatever.

Totally. But it's all about going back to number one, practice. It's a place to highlight the things that we're practicing. And if that's best on a website or a Facebook page or a group or Instagram. Yeah, I've always used a Facebook page. Yeah. And remember we learned from Sean Jones to.

Myspace page back in the day. MySpace. Hello. Big shout out to MySpace. How you doing? Those were good pages for musicians. They were good for musicians. Yeah, yeah.

But the idea is just a place to put things in front of people and people are online. line. People are on their phone. So you want to be where your potential audience is and you want to have that great product to let people know. And it's a fun thing too. Even if it's like a regular audience that you have, it's great to put things on there because you can kind of warm up an audience to a show you're doing later, maybe a snippet from a recording that you're doing that you're going to have available there or something that you're going to be playing. Isn't it a cool thing if they can hear some of that or the way that you're practicing it or behind the scenes? Totally. Totally. Yeah. So number three. Can I just say one more thing about number two? Yeah. I was just thinking this. I was just thinking this. too, thinking back to some things we learn from Sean Jones, as far as the online presence, don't copy other people. Do what's natural for you, what works. Like you said, the website thing has never been a thing for you, but you excel in some other kinds of postings that I see. And so there's all different ways to do it. Find the one that you're comfortable with and really maintain that. Now, you can get into multi-channel if you've got the time, but it's better to have one thing that people know, like, oh, Adam Manus's Instagram is so cool. He does such and

such things about his gig or whatever. Sean Jones is big into the Instagram stories because that's a natural... He's great at it. He's great at it. It's a natural thing and it's fun to follow along. And it promotes him and his artistry in a very authentic way.

Yeah, I mean, the best people who do this, it's kind of an extension of their natural personality anyway. You know what I mean? So consider that. Consider it's part of the extension of the project. Like this is your... However best that fits with what you do. Yeah, I love it as like a preparing for before

and then afterwards like a follow-up kind of thing can be for the actual live gig too. Yeah. So number three, this is something I put on here because this is something you see now a lot with clubs. Yeah. Where they want some kind of concept or theme. Want or insist. Insist. It's a fine line.

Yeah. Whether that's like the music of a great artist or some kind of, you know, instrumentation theme or, you know, solo piano series or something like, you know, something like that. Yeah. But having some kind of, you know, not just, you know, Peter Martin Live. Yeah. like Peter Martin, like you have posters over here from your great Sheldon concert series that you were doing a couple years ago. It was amazing. But you had like, you know, what was it like pack of five or something like that. Like all these or like duo themes, you know. Yeah. And that kind of thing, it's just easier to market. It's something to talk about. It's something to get, drives interest in the show. You know what I mean? Yeah. And I think it's great like the trick to this is finding that intersection between what you're passionate about as an artist and what you want to present and what you think people might be interested. interested in because we never I mean we maybe go into this saying like no I'm a great artist it should just be good enough that it's Peter Martin trio or whatever and maybe there are some situations where it is like Adam Manus trio which are Thursday night regular gig because the theme is built into the regularity of it yeah that's coming up yeah that's coming up so sometimes but it has to be appropriate for the thing and so like if I'm asking people to come see you know Peter Martin over and over again and I just play the same music am I really that interesting to do that maybe not well especially in the same town exactly If you're kind of on a local scene or whatever,

I mean, switch it up. Do Peter Martin with strings? Give people a reason to want to come back, you know. Totally. And they'll let you know if they want you to repeat something. Don't worry. And this doesn't have to be like a sell-out kind of thing, too.

You come up with really, really interesting artistic ideas for this to help propel you. I mean, think of, take a nod from sort of the new music world of programming, you know, and like, you know, do an evening that's based on a concept that's, you know, like high-level art concept. Yeah. And you'll still draw some audience from that idea. Although technically, if we're calling this episode, seven ways to put butts in seats,

I don't know if one of them is follow modern classical music way of programming. If we look at the number of people that come. Tush. No, no, no, but the more creative ways of doing that that do work. Yeah. And they do. You just have to be kind of careful about that. But I think that what I like from classical music programming

at all the different levels that's done really well. When they do a theme is it's not always, like music of Brahmsbach and Beethoven, the three bees. I mean, that's one way to do it, you know, but when, and I've had some success with this, is when you take things that make people go, hmm, like we did one concert, it was like the music of Thelonious Monk, Stevie Wonder, and like Jelly Roll Morton or so I can't remember the third. And like put some kind of connection.

Yeah, but it was a connection that I saw musically. This is what I'm saying. Yeah. You can still, it could still be interesting to you. You don't have to feel like you're just like attributing all the time. No, no, no, no, something that makes people be like, it's like a question to people. Like, do you think we can pull this off? That makes a fun thing.

But you got to make sure, going back to number one, practice, that you can pull that off. And it's organic in your mind. Yeah. If it's kind of a question thing, that's a good thing. That'll get people to put their butts in the seats. Even something as simple as like commissioning yourself to write new music for your group or new arrangements with a new instrumentation could be something to market. And that could be something topical, you know, political that's interesting to you. Yeah.

That's out there. You know, whatever it is, it's like finding that interesting. section, you know, of, I think, something that's marketable to people, but that's something you're passionate about. That's the key. Yeah, it's great. Okay, number four. This is another one of mine, too. And this is, I think, becoming more and more an important part of this. And that's to live stream your gigs, if you can. This can be a big game changer for, like, letting people know, like, oh, snap, these guys can play. And they're here. And they're going to be here again at this time. You know what I mean? So this would somehow connect with number one.

one practice as well. Yeah, I mean, right? Yeah, you don't want to, you don't want to live stream and sound terrible. But, so, you know, the most famous examples now are probably Smalls and Mesrow in New York, you know, iconic New York City clubs that live stream every night. Right. And people all over the world watch. And when they come to New York, they go to those places still.

Because they have a whole other angle on it from those places, like super creepy security camera kind of vibe, the way that goes look. Because it stays on during the break, right? Yeah. Yeah, yeah, yeah. Yeah, it looks like closed circuit. or something. No, but oftentimes, like, I'll just put my phone on the edge of the piano, like, right here, you know what I'm saying?

So that it shoots up the keys. And, like, that will draw some good views. And then the next time I play at that venue, as long as, like, I'm still at that. It's like the regular thing or whatever, you know. People come and they'll say, like, oh, yeah, I saw. I forgot you were here or whatever. But it's a great thing. And I think that, like, those kind of live situations are wonderful because it gives people a little taste.

There is a little bit of fomo if it's something good. And we've been paying attention to number one practice. But that's a good. Because if people see it like it's not for me, that's fine. It's self-selecting. No one's forced to watch your Facebook live or whatever. But if it pops up and someone's like, wow, that's cool. Like that's marketing.

You know, like now you've put it into their possibility, into their world. And now are they going to take the next, are they interested in enough to take the next? Maybe they see next week's live stream also. Or maybe you're in another city and then they're like, man, I wish they would come here. And then they come. Okay, I'm going to definitely get a ticket because I've already, it's like a sample. It's like a little bit of a sample So that you're giving them

Back to the website thing too We want to be confident in our product And give them a sample of our live show And then they come And you know a lot of people are scared of this live stream In the gig oh well people aren't going to come to the gig No matter how good the live stream is And look we've done a couple now here

And we're up in our stream game And we put a lot of time and money And energy of the team With the audio and the video and everything To make it as good as possible And we're up you know And then you talk about like jazz And Lincoln Center their live streams

Are amazing It's still not as good as being there in person I mean, there's nothing like being there, so I wouldn't. And it's not going to keep people from going to those shows. It's not going to keep people. And I mean, if it ever does, maybe, you know, we start to charge for live stream, but we still look at it as, like, showing people, look what you could get if you were here. We're happy to share this.

It's even better. Now, if you come, you've got to pay something to make it sustainable. We did, the last live stream concert we did in here was of the Brazilian cats that were in town. Yeah, it was so unbelievable. We had just, like, the audience surrounding them. Yeah. We got so many comments on the live stream like, you have to let. we know the next time this happened so I could be there.

Yeah, actually, let's look, Andrew, can we link to that below? Is that still live on the... Yeah, we still have it up. On the YouTube. It's so good, man. Yeah, yeah, it really is good. Their butts off. Elio Alves, Romero, Adieu Ribeiro, and Bob de Boob.

Yeah, the local Brazilian. Yeah, that's right. But man, it was, but that, the point is, is that live stream is not going to deter anybody from coming to the show. In fact, it just makes them want to come. Yeah, and look, there's everything from that, well, from beyond it to the Lincoln Center the way they do it, smalls and stuff, but down to piano at the keyboard, you know, just put a little bit of thought into it, but it doesn't have to,

not everything has to be perfect. It's just giving a little, little peek behind. Okay, so we're on number five. Did you know that big guy? I didn't know that. Okay. Number five. Okay, this is number five of our seven ways to put butts in seats.

And this is to keep it regular, keep a regular schedule and do something recurring. And you have a great example of this. How many years now have you been doing your Thursday night trio gig? Two and a half years. Two and a half years. And we have great crowds every Thursday. Yeah. And it's because we've grown it.

And people know they don't have to think about it. They know that just Thursdays at 8 p.m., go down and see the Adamaz Trio. Yep. You know, know it's going to be what we do. And that's like a valuable thing to have. And I talked, Doug, the owner of that place into that because he was not kind of into the idea.

But I knew that if I could get something regular and build it. Yes. And people had that comfort level that we could have consistent crowds. And so it's important, I think. and it's rare these days I mean there used to be all the time but if you can try to get some kind of weekly or even bi-weekly or monthly

I think weekly's best because people don't have to think at all about it exactly and that's the key you don't I mean people's attention is being pulled in more directions than it ever has and the biggest challenge to try to market anything I think at this point is to get people's eyeballs or their ears

or whatever you're trying to get the attention that's the commodity so what you just mentioned they don't have to think about it So now you're giving them that time back. If it's something that they're interested in to get that attention, that they know they don't even have to go to your website or whatever, which might only take them a second. But people don't have that time to see, wait, is he Thursdays or Tuesdays this week? Why give them that extra complication?

It's regular. Yeah. And I mean, you start doing this long enough. And then that starts becoming part of the story. And people, you know, maybe who came and saw you a year ago, one of their friends was like, oh, yeah, it was at Thurman's Thursday. You know about this? And like, oh, yeah, the animusry who does? I hear that all the time.

Like, yeah, my friend Joe was down here and saw you guys. And I remember you were here. So it becomes like its own perpetual marketing machine. Like it finds your audience for you. And that's going to tie in with number seven when we get there for sure. Sure. But I think it works on a couple levels. The Adam Manas fans are like, where can we see?

Oh, I know he's always there on Thursday. He does some other things. But Thursday is a thermist. But then there's also people that just kind of come in or hear about the club or like the New York Times right up. Thursday has its own vibe. Right. Oh, Thursdays are this. And you know, some people can be like, oh, I don't.

like that because I want to go talk and that's more of a listening night. Yeah. But whatever it is, it becomes a regular thing and people know it. It's a thing. Yeah. And, you know, added benefit going back to number one here is if you have a regular gig, you, of course, start to get pretty tight with the band that you're in. And that also perpetuates itself. Yeah. People start talking about. Yeah. Well, and then people like, wow, they're good. And you're actually practicing on the gig. I'm sure you would consider that. Yeah. Yeah. And I think, too, for this, this goes at all different levels. You can talk about

clubs. I mean, you can talk about other things, restaurants or whatever. But the clubs that are consistent, like sets are at 9-11, sets are at 8 and 10, like everything. Like try to keep stuff consistent because people are busy and get confusing. We always want to be like, well, this gig sustained itself and was a success because the music was so great. But sometimes it's these silly little things. Like the music's great, but you're not on a regular schedule or you confuse people or people didn't know.

So we don't ever want to like lose sight of these kind of logistical things that can be very good. Well, and you know, this number five, keep a regular schedule, a recurring thing, could also apply to your marketing strategies of when to post, you know, posting on a regular schedule, not letting two months go by between social media posts if that's your outlet. Yeah, because people aren't going to be looking for it otherwise. Otherwise, they won't be looking for it. Another thing to consider is if you're in a mode right now where you may be starting to travel around outside of your area, doing some touring, I always thought about that as like an opportunity

to keep a regular schedule at those venues outside of where my home base was. You know what I mean so that I kept a yearly rotation of some of these clubs outside of the area. Yeah, and regular schedule. We're talking about weekly because this was the example, but that could be monthly. It could be yearly as appropriate. Whatever it is, but just keep it regular. Yeah, that's awesome. Number six.

Number six is a good one. Bring in a ringer. Ringer. Yeah, whatever that means. I mean, I know exactly what it means. I never understood the development of this. It's such a lot. You're usually the ringer people bring in, Pete.

I know, but I always heard it growing up as like a negative thing. I don't know why. Like, I think my parents, because, you know, they're classical musicians. You'd be like, oh, they got a ringer in there. But, yeah, it is a positive thing. But this is really bringing a special guest. Somebody to enhance things from the audience standpoint and from the same thing. It has to be that intersection of interesting music and something you're passionate about.

Yeah, and the advantages of this can be both musical. And not only that, are you going to get, like, different music from someone bringing in a good musician that you might not often play with, but you also bring in, hopefully, their audience with them. Exactly. And you get some nice cross-pollinization. Some crossover. We've done that with like Peter Martin and the 442s, my band. And I think we've really helped our audiences see each other.

Yeah. And this really helps us with number one practice because these kind of situations usually require you to do some extra and good different kind of practice to be able to prepare for that. Because they're going to be maybe invite them and then you're going to do their music or whatever. And it also coincides with number three, create a concept or a theme for a show because now this is the theme. Right. These two musical entities meeting. Dude, when we come up with these things and then talk about them for weeks on end, of course they're all connected.

This is perfectly aligned, just like we've been planning this. All right, but this is taking quite a while. Oh, yeah, let's go. Let's go to number seven. We still got to get some butts in the seats. I know, man. So number seven, the most important part, probably. Word of mouth.

Word. Word. That's the best marketing, always. For sure. I mean, that's like, I mean, the online presence of all these things, that's kind of just manifestations and more modern versions of the old word of mouth. And if you're practicing and, but, you know, keeping the regular schedule and, and, having interesting guests or interesting themes or whatever, then people will want to do word of mouth.

And you're not going to have to do that. I mean, you might say at the gigs, hey, if you enjoy this, bring a friend next week or what, you can do little reminders. But in general, people are going to share, like, you want to present the music in a way that people want to share. Like, they want to, like, ultimately, you want them live streaming your show or taking a picture or sharing it with their friends or telling people at work, man, you did you hear what I heard last night?

Yeah. That's what you want to do. So if you follow these other things, that'll actually naturally happen. You do need to kind of little things you can do to tweak to, you know, tweak people and remind them. But pretty much that's going to happen. Just don't be scared to mention your gigs that like, you know, we talked about my regular Thursday gig. Whenever I'm playing anywhere and someone says like, hey, I really love the show. I'm like, oh, that's cool.

Come see us on Thursdays. We're at Thurman's every Thursday night at 8 p.m. Yeah. I say that. Give them options. I say that multiple times a day. Absolutely. And so try to spread the word and hopefully they come down.

Awesome. Okay. We have one more big bonus one. We're going to do that. But before we do that, we have one big bonus promotion. Bam, bonus on top of bonus, bruh. We did this a few weeks ago. We are offering for a you'll hear at listeners here at Open Studio

a deep, deep discount off of our all-access pass. Yes. Which is every course that we offer. Yeah. It's the yearly version. So you get a yearly subscription to the all-axis pass. Does that be annual? That would be annual.

Got it. And we did not give the number of the discount last time, but today we are because it's special. So, you know, around here we like to do our seven-star reviews. We like to do our seven star ratings and reviews. We like to do our seven, a list of sevens. We're heavy on the sevens. Yeah. So we're going to give you $77 off.

Man, 77. Can we do that? Can we afford it? We can't really afford it. Come on. We're going to do it quietly, okay? Wait, should this, do people, are we marketing right now? We need to do some anti-marketing because we're going to lose money on this, but no, we

won't. But look, we want people to come into the full. That's why we love the all access. Yeah, it's great. You know, and we joke like if somebody goes and listens to every single lesson. We have over a thousand lessons on the site now. Good luck with that. Yeah, good luck with that. You can put us out of business. But we're banking on you enjoying it and telling your friends. We're trying to spread the love around and get these lessons in front of the people that want to see. Well, and some things I think

that people might sleep on with the all access pass is not that you just, that you just get those thousand lessons that we already have on there. But we're releasing like a course a month at the pace we're on. Yeah. And so you get all that too for the rest of the year. Right. You know, so anything we release in this next year, you'll have access to that when it comes out. Right. And there's some cool stuff coming up. And not only that, if you, some people might have heard by now of our brand new platform that we're, I'm saying it quietly because I'm not supposed to be mentioned.

Are we even, I mean, in our new URL, we're not going to tell people yet. We'll tell them first here. We're going to announce it first on your year. For sure. For sure. We're the new platform, same great lessons. Yeah. Same great courses.

Same great teachers. You're looking at me a little nervously. I like that. Well, I just, I don't know. I mean, get ready for like huge speed upgrade. Yeah, much faster, same great content, better organized. Lightning fast. Yeah, yeah.

But we're going to get all into that in the coming weeks. But just know that if you sign up at this great all access, don't be like, oh, should I wait for the new platform? This is going to be fully integrated with our thing. You're going to have actually priority access. If you sign up now for all access, you'll have priority access to the new platform. We'll let you know before everybody. When it rolls out, it's going to be very simple to migrate over there. It's going to be a lot of fun.

Yeah, man, I'm looking forward to it. Okay. Okay, what's our last bonus? So, well, we have to tell them, folks, use the offer code, all access. when you check out with your... Oh, really? Yeah, you'll hear it. Sorry.

No, I don't know. Yeah, you'll hear it. What do we use it? What's going on? Andrew. Yeah, you'll hear it. Sorry, use the offer code. Promo code.

Use the promo code. You take care of this. I don't know. I actually don't know. I'm confused myself. Use the promo code. You'll check out. I'm not good at marketing.

I'm sorry. When you check out with the all access pass annual, use the promo code, you'll hear it. One word. One word. No apostrophe. You'll hear it. Capital, small.

It doesn't matter. Case, not case sensitive. You'll hear it and you can save $77 on an annual membership to the All Excess Pass. Yeah, that'll be nice. Okay, so here's our bonus tip on gig marketing, how to put butts into seats. And that is, you know, we talked about different channels in different ways, you know, websites and all these different things, word of mouth. But the important thing with this is to find the channel that your audience is. Don't worry so much.

I mean, yeah, it has to be something that you're comfortable with too. but keep like do some experiments in different things and this could be anything from a standing outside with a sandwich board if that's where your people are you know to posting online to sending emails if you keep an email list or instagram but wherever your people are or people and how do you know who your people are you start with one and then two the people that are there how did you hear about us so you put some little experiments out there and how do you hear oh i saw you're posting on instagram i saw your live feet you know maybe you become a live stream guy and that's how you always promote your next gig but find that channel and then here you Hit that one hard. Because you can't be everywhere at all the time. And if, yeah, no, know your audience. If you're 17-year-old synth pop artist, the email list is probably not the way to go. No, no, no. Get people's phone numbers and text them directly.

All right, good. Well, this was fun, man. Yeah, dude. Let's go to market sometime. All right. You'll hear.