TRANSCRIPTION: "Success Beyond The Score" Podcast, S.3, EP. 9

Here is the transcription of episode 9 of season 3 of the podcast "Success Beyond The Score". Happy reading!

- Watch the video of the episode here: YouTube

- Listen to the audio of the episode here: Kajabi

INTRO:

Hi, how are you doing? Just checking my little things here. I think I've got everything ready. I hope you're having a lovely day and I hope you can hear me. Okie dokie. Then, today we've got a really, really interesting topic. Firstly, I just want to thank Phil, Angie Lee, Morgan Genus Sports, for dropping those questions in advance, because it got me thinking, and I'm looking forward to answering them.

So: we've got a really good session today. I'm Millicent Stephenson, your podcaster, your host, and I challenged myself to come onto YouTube Live to do my podcast because usually I pre record. I'm on the... What day am I on now? The 9th day. Tomorrow's the 10th and then next week, the 11th. So far, I've covered:

"The 7 stages of a gigging musician," that was my first one.

"Does your music have the juice to pull a crowd?" it's all about the fanbase and can you get people where you need to get them? People who pay for you.

"Why do musicians get killed by sound" was really about; maybe it's time for musicians to learn the tech and the buttons and things to get the best sound they can for their performance.

"I'm a musician. Do I need a business plan?" I kind of gave examples of why you do need a plan and it doesn't have to be anything extensive, but you need to know where you're going, how you're going to get there, what you need and so on.

"Three reasons why you should charge for your music starting today." I believe musicians should be paid their worth. You should be paid your salt. And the world is big enough for us to each have a slice of the pie, and that's what I truly believe, but I gave some reasons why you should start charging, because not everyone is comfortable with charging. Some people are just happy to do it for free, so I just sort of look into that.

Episode six is: "Is playing for free a contradiction for musicians?" I try to restrict myself to the reasons why you may want to play for free, when you should and when you shouldn't, and stuff like that. Very debatable topic.

"Do you have a music hobby or a music business" was a really good one because some of us have a hobby, so we don't mind what we do and there isn't much of a structure, but as a business, there's a lot more things you can get, and a lot more benefits for being a business, and you can get work from other businesses. As a hobbyist, that's not really the case.

I also then looked, yesterday, at why you should video record your gigs. I know that we've all got phones, certainly in this country and some of the countries I can think of, and we can video record our gigs. But I looked at reasons why and the benefits of that.

And today it's "Stop! Do not record until you've done this." This is about music and CDs and MP3s and stuff. And I really want to go into some of the things that you need to make sure are in place before you even go into that recording studio.

Tomorrow, I'll be looking at "three reasons for putting on your show" and then next week, "why you should work with your sound engineer before the gig."

Okay, so today: Music recording. Is this year. You have a great —and I mean fantastic— bulletproof idea for a song, and you're just exploding with the song, and you write it down and you think: "Okay. How am I gonna get this done?" Maybe you contact some musicians. You start to collaborate and work with that. Or maybe you've got the skills to sort of write out the chords, the beats and all that kind of stuff. Cool. Cool. Cool Do you think: "Right! Gotta get into a recording studio here. This is what I need."?

So you think about recording it. You're going to a recording studio. In fact, you've got a mate who got a recording studio. But anyway, you get it recorded and you think: "The world must know this! Everyone's gonna buy it!" You tell people you've got music and they go: "Yeah, sure." You try to get it sold, but your garage is still full of boxes of CDs. Or maybe you've got your MP3s and no one's buying it. You're thinking: "Where have I gone wrong? I've got a great product!"
Now you are amongst many, many other musicians who think that way. You are also amongst many business people who think that way. They think they've got a great product. Get a shop. Sell it. "Everyone's gonna buy my juice, my cakes, my food, my clothes!" And nobody buys it.

There are some things that you really, really, really, really need to consider. Today I'm gonna give you three things —there's many other things— but I'm gonna give you three things which I feel are key, which help me, and which record labels actually use as well, to really help you move forward and start to sell your music.

MILLICENT'S EXPERIENCE:

Let me just tell you a little bit about my background, because you may know me as a performer. You may just know me as a podcaster. You may just know me as a teacher. You may just come across today and go: "Who's this woman talking to me?" I'm not going to give you my full bio, because you can get that on www.millicentstephenson.com or www.successbeyondthescore.com. But in terms of recording music, my first EP that I did broke even in six months. No, I don't mean I broke them. I mean, all the money I put in to make that CD was completely covered by sales. So that, after six months, I was making profit. I'm really, really proud of it. Really, really proud of that.

My second product —my first one was called, "This Is Life." My second project, which is "Reflective Notes," I found the work to promote and to do all the sales really hard going, balancing it with my gigs and everything else I was doing, so I handed it over to someone else to promote and advertise. They came by recommendation, so I had no problem using this person. And then their relationship with their partner broke down. And they had to move house. Yadda, yadda. It took a year to get stuff back out of their hands. It was just a nightmare. They registered it wrong. Oh gosh, it was a nightmare. However, I got everything back, sold it myself. It took me 18 months then, to sort of break even on that product.

I've done collaborations. I recently have done "I'm That Woman" with Toyin Adekale. I played sax on that. It's a reggae track and it got to number 2 in the A Step Forward charts in April of this year. I've worked with GLR Records. Gary and Stuart, great producers, created a wonderful reggae album. I'm not all into reggae, by the way, because my other music is like blues and jazz, and soul and stuff. But I worked on "I love you just the way you are," and that was voted number one on the Stevie J chart. So that's kind of cool, in 2020. And before that I did "Take Me to the King," reggae version. That was voted number one on the Be Inspired with Shoggy Tosh chart. It's an international gospel chart, 2019. That same track went on Rotational and Kik FM, which is not a gospel station. It's just a music radio station. An internationally syndicated radio station with 6 million listeners in 2019.

My first two tracks I wrote, original ones, [are] called "It's All Good" and "I Will Go On." "It's All Good" in 2014 went on to BBC Introducing, in the West Midlands. Really happy with that. My music has been featured on radio stations in the US, in the UK, BBC, internet, local stations, and probably in other countries, but to be honest, I don't chase it all up, because there's a lot to do when you're spinning plates as an individual, so, there you go.

I just want you to know that I've got recordings out there, I'm growing in my music writing and stuff. In fact, the next thing I need to do is get some releases, because my fans are probably fed up with me now, not getting something new into their hands. So sorry, peeps! I've been so busy. I will get there. We'll definitely get there. But for today, I just want to share some rules I've learned.

If you like what I've said today, please like this video. Please, share with other musicians. Please subscribe, because I'm trying to get my YouTube to a thousand to unlock some features that I want to access. Just to say thank you for that, I've got some free gifts. If you go to www.successbeyondthescore.com/freegifts, you can download "25 Secrets Of The Successful Gigging Musician, Singer, Rapper, And Spoken Word Artiste," or "10 Reasons Why They'll Pay You Before Gig Day." You can grab one of those. And, of course, I've got courses there, in my store.

RULES OF MUSIC RECORDING:

Okay, so: Rules. Yeah, I'm going to call them rules. These are my rules that labels use as well. They approach it slightly differently, but I'm a DIY, and I'm going to tell you how I approach it.

Number one: musicians tend to go into the recording studio, but they haven't thought about who they're going to sell to. Therefore, you need a fan base. That's my first rule. A fan base. You need to already have people who want your music. It makes it so easy to sell, so easy to get it done, you know it's gonna hit the mark, hit the mark, hit the mark.

If you don't have anyone to sell to, you are going to struggle. And I mean: really, really struggle. You're going to have to utilize some "next man" promotion to get people buying your music. It's hard. The first thing you want to have is a fan base, so if you've not recorded, stop. Do not do any studio recording. You want to build your fan base. You want to create a crowd of people who love you, who want what you have, who want to part with cash for what you have, for what you can give them.
In episode 2 of this season, I talked about fan base. You can go over and check out that and the questions about building a fan base are answered there. But you really need to cultivate these people, this group. When I did my first EP, I didn't just go off and do it. I was playing music from... I was at school, I was 19 and in my 20s, doing it for free. I had a little bit of a break, had the children, and at 42, I thought: "You know what? I'm going to give this one last push. I'm going to do it."

I did it. It took me five years to get to some of the targets I had. I kept going, and I'm in my fifties now. People were not asking me for my music. I'm going to be really serious about it. No one was asking me for a recording. And it didn't bother me because I was just interested in playing. Eventually, just eventually, someone said: "Do you have a CD?" —this is in the days of "CD is king." Please, you know, we're talking 90's here, right? 80's, 90's. Tapes in the 80's and 90's, and vinyl in the 80's before that.

I said no and I just ignored it. Then, a few more gigs later, a couple more people were like: "Have you got a CD?" No, I haven't. A few more gigs, and then people are asking, they're asking, they're asking. You know when people are asking for your music, you realise: "Actually, there is a need here. I need to bring water to these people."

Sometimes, it can happen that way, sort of organically. Other times, you've just got to create your fan base. That's what happened to me. I had people asking me on a regular basis, and I didn't have the skills to do it. I really didn't have the skills. But then I met my first producer, Peter Daly. The rest is history.

So: it's really important to have a fan base, people, your customers. Think of your fan base as your customers. Remember, you are a business. I talked about being a business a couple of episodes back. Go check that out. Have you got a hobby? Have you got a business? But if you apply business principles, your music can grow. You can grow your fan base, you can sell your products. That's what it's all about. That's why it's called the music business. Labels are in the business side of music. And you, as an independent person, have to think with both caps on. Musician, artistic, creative, business hat on. Very important.

Number two: Gigs. I talked about fan base. But do you have a place to perform? Have you got regular performances? If you've never stood on a stage —and I mean, invited to perform somewhere— don't go and record music, because you're not going to be ready. We can all have a hairbrush, stand in front of a mirror in our bedroom, and sing and feel like we're at Wembley Arena. We can be in the shower doing our Pavarotti in our singing. But when it comes to standing on a stage, in front of a live audience, it is so, so different. I perhaps need to do an episode on stage presence, but I do have a product about stage presence in my store. It's only £10, something like that, really cheap, but it tells you how to get the stage side right.

But: Do you have gigs? Because what I found, this is where I sold most of my music. I sold about 100% of the fee. I think my "Reflective Notes" were going for like £10 at the time. They get bought. Sometimes, people buy three for friends and stuff like that. I'm coming home with £200. I'm coming home with £100. Sometimes I'm only coming home with £40. Sometimes it's only £20. But I tell you what, I'm coming home with money, because I'm selling my CDs at gigs. You need to have gigs to sell at.
Let me endorse that a little bit further. When I had my first booking agent, he used to work for the BBC. Roy, hi, if you're listening! Roy advised me. He said: "To sell your CDs, you've got to have gigs. That is where musicians make and keep 100% of the selling price." If you haven't got gigs, you need to get gigs. And when you have gigs, you can create your fan base. They kind of work together. You see how they're going to be tying up? This is where you make your money.

Depending on the contract, I would say, if you're going to sell at a gig, make sure your contracts say that you keep everything and you don't have to give the promoter anything. Make sure you do that. I did a gig and I didn't have that in my contract, so they came back and said: "Oh, you sold some. Can we have a percentage cut, please? For our charity?" I'm like: "What?" I read the contract. Ah, not in there. Let's change that. I'm not saying you mustn't give to charity. But your contract must reflect what it is you're going to give or not give to the person who books you. It's entirely up to you.

If you don't have gigs, never had gigs, wanna have gigs, I have a course in my store called "Learn the Secrets of How to Overcome an Empty Diary and Get Gigs Time and Time Again." Go over and check it out, see if it's something you're interested in.

Number three: Testing. Did you test out your music? You're going to say: "What do you mean test? Do I put it under a microscope?" No, I don't mean that, I don't mean that. It comes back to gigs. If you've written something new, have you tried it out on stage to see if it works?

I've done this both ways. My very first EP consisted of songs I've never performed before, but I had a demand, and people loved it. My second EP consisted of songs I had played before and songs I hadn't played before, because you can do that once you've got a bit of traction. What I found is, the songs I'd done before, I was really, really comfortable with them, so when I got into the studio, it was easy to deliver them. The songs I'd never played before were a little bit kind of: "Will they like it, will they not like it, oh my gosh." But when I did perform those songs, I thought: "Oh! Actually, I should have changed that word. That word doesn't really work. Oh, actually I should have changed that note."

Testing your music first with a live audience helps you to really craft it into something that you're so comfortable with . When you go into a studio, it's fine, but also you're growing people who like it. You can ask your fans. I actually just say to them: "Listen, I've written this song." In fact, I've got some songs I've not released yet. And I say to them: "I've written this song, I'm just testing it out. I would love you to come back to me after I've performed to tell me what you liked about it." Then I'd perform the song, tell them thanks, and they'd come back and tell me. I've got that sort of immediate feedback from my fans, from my audience, to sort of shape it, shape the music.

Of course, you don't have to do it live, you could do it online and ask for feedback. But the key thing is to test it. Does the melody work? Do the chords work? Does it give that sort of tension release? Does it convey what it's supposed to convey? Are the lyrics smooth? Are they a bit clunky in places? Do people want it? You know, do they genuinely like it? I mean, genuinely, not just "heart,", "like," but generally say: "I like this and I would buy it."

I got this advice from a great friend, Elaine Hanley. She's now in the States and she was singing for the World Message Tribe, a gospel Christian band that did international work at the time. This was in, I don't know, 90s, 80s... But her advice was that. I found that to work, and I've tested it both ways. I'm telling you: it really, really works. There's some comedians I like to follow, and when you read their biography, you find out that they test out their lines in an open mic or at a comedy club. They just go test it, see if they get the laughs, see if they need to change something, and once it hits, then they bring it out to the world. That is something you can do quite easily.

There are other things that you need to bear in mind in getting your music out there. You know: Do you have a promotion advertising strategy? Have you registered your track? Do you understand the process that the music goes through from song idea right out to sales, and so on? If you're trying to hit the charts, do you understand the chart rules?

I'm not even going to go into a lot of those, because those are stuff I would probably put into a course. In fact, I have a course already written and recorded —I've just not gotten around to putting it into my store yet— about recording your song and getting it out. If that is something you're interested in, please grab one of my freebies. The "25 Secrets Of The Successful Gigging Musician, Singer, Rapper, And Spoken Word Artiste" or "10 Reasons Why They'll Pay You Before Gig Day." Either one will get you onto my mailing list, and you'll be able to talk to me, and I'll let you know when the course is ready, because I may not necessarily advertise it on YouTube. And even if I do, like I mentioned in one of my episodes recently, on the fan base one, if I don't have your email address, I can't email you directly, and the social media platforms only send notifications to so many people, you know, they limit it. Rightly so, I suppose they've got to make money, they want you to advertise, hey ho. Get onto my mailing list and I can let you know when that's going. You can also let me know if you're interested in that.

QUESTIONS FROM THE AUDIENCE 1:

Okay, question time. Morgan Genus Sports: "Do you think it is still good to create CDs, or is it best to just get your music online?" Hmm. Okay. What I will say about that, Morgan Genus Sport, is: It depends on your audience. For example, my audience tends to be, where I perform, tends to be 40s and 50s. They like CDs. If I go out and sell it, they're gonna take it, because they've a CD player. They're not interested in MP3s and software stuff.

Some older than that would love vinyl, because that's what they're used to. They love that physical vinyl. Notwithstanding, there are some people who are younger than 40 who go buy vinyl because it was all the rage at one point. You know, the industry was pushing out putting your music on vinyl. But younger than that, MP3s. You know, they just want to download. Job done. It's there. QR codes. Job done. They're there. They just snap, snap, snap, snap, snap quick. So it really does depend on your market, who you're targeting, who you perform to. Ask them. You can ask them. If you've got a great fan base, ask them what they prefer. CDs, MP3s, or whatever. That's that. I hope that helps that one.

QUESTIONS FROM THE AUDIENCE 2:

Okay, next question: "Many people only get limited sales from their online music." True. "How can online sales be increased? Do you have any tips on how to promote online?" Okay. Promoting online is very similar to promoting offline, so you do need a fan base. You do need people who are going to buy it, so you can email them and say: "Hey, this is ready. This is where you can buy it."

I would say, if you're doing sales on your website, do check if you need any sort of licenses in place. Make sure the security's pretty good. Make sure you're using a good payment provider. You know, those kinds of things need to be done. You can do it sort of the other way, whereby you advertise online: "I've got it. Drop me an email." People drop you an email, and then you send it out to them like an attachment once they've made the payment.

So that's kind of how you can do that. Make sure you're tracked, registered with PRS and PPL. On social media, you need to have a strategy. It comes on the promotional strategy. So: are you going to use social media? Are you going to use social media ads? Are you going to promote it at gigs and say people can get it online? Because I've done that. Yeah. Because I've got physical CDs, but I also have my mp3, so I tell people they can get them. People just go and get it while they're sitting there. I'm playing, they're downloading, they come to me: "Hey, I got your track!" Cool, you know? It works.

If you've got a PayPal account, there's probably a facility on there to do sales. MailChimp, facilities on there to do sales. It's worth checking out, but it's down to your promotional strategy, the time of day, month, year... Big topic, quick answer. I hope that helps in terms of promoting it.

You, yeah, you know, you don't get much money for selling your music through an online distributor. It's less than a pound, sometimes it's less than 50p, sometimes it's less than 3p, sometimes it's less than a penny. It just depends where it goes and the rules they have there. I wouldn't wholly rely on online sales, unless you're happy with the income you get, but you have to do quite a lot of pushing to get that going. So you do need a strategy for how you're going to actually draw attention to your music. I hope that helps you with that answer.

QUESTIONS FROM THE AUDIENCE 3:

Phil: "Do you have tips on selling music internationally? I live in France, but want to promote my music in the UK, Africa, and the USA." Okay. Phil, my first question to you is: Why don't you promote it in France first? Why do you want to do UK, Africa and the USA? Now, you don't have to answer those questions online to me here, unless you really want to, but it needs to form part of your business plan. If you're going to release music, you should have a plan for releasing your music, which will cover your promotional strategy, advertising and marketing. Yours is now coming under marketing. It's about finding the people in the UK, in Africa and USA who like your music. How are you going to do that? I would dance at home first. I would get your music into the people in France who like that style of music that you do. Whatever that style is, whatever that genre is, because they have a network. They know people you don't know and they're going to share your music and say: "Have you heard this music?"

Okay, let's give a good example: ABBA. I like ABBA. ABBA came out in the 70s, 80s, and had a resurgence recently. They're a Swedish band. How did they come to England? They got signed to a label, that label has networks, they have contacts. You may not have a label signing, and if you do, this question wouldn't work because they'll just get on with it. But you have to act like a label, so you've got to think about your networks. Which radio promoters do you know? Which radio pluggers do you know? Which radio stations can you get your music onto?

I would certainly get it in France first, because the radio contact there will know a contact in the US, or in the UK, or in Africa. That's kind of the way it works, because music is relational and, if somebody puts a good word in for you, the other person's going to listen. They really are. But you can go cold. You can go absolutely cold. You can do internet search. Let's say you're into, I don't know, punk music. Maybe gospel music, jazz, whichever music you're in. Let's say jazz. Okay. So then you're going to have to find who is promoting jazz, which radio stations like jazz. Which of my friends like jazz? Which of my friends that I know live in Africa, America, UK, that like jazz? You know, you have to start thinking really broadly and then trying to get these people on your side.

Think about applying to international festivals. In the UK, PRS Foundation has funding to support musicians to perform in some of the international festivals that are out there. There are different ones each year and you can apply directly to them. You want to find out where these international festivals are, to see if you can get out there and sell your music there as well.

As I said, French radio stations, maybe even podcasts. You know, podcasts are always looking for new music. They might like your music. They might want to license your music to put on the beginning or end of their podcasts. Those are just some highlights I'm giving you, that you then have to work with and drill down even further and get that working. You just need to have a bit of a strategy, but I would certainly get it working in France, and then use that as a springboard to say in the UK: "This is what it's done in France. It could probably do here."

QUESTIONS FROM THE AUDIENCE 4:

Okay! Cool. Um, Phil again: "Does putting my music on YouTube stop people paying for it? Do you only put samples on social media?" To some extent, yes. And I would probably say yes, and yes, and yes. Look at it this way: When you listen to a song on YouTube, do you go out and buy it? Well, I think the answer to that is there, isn't it? I mean, most of you won't buy it. You'll be like: "I've listened to it, I love it, I listened to it, I love it." You won't buy it. If the artist is coming near you to perform it, will you go and buy a ticket? Probably, because you like their music. And if you become a fan, then you'd go and do that. But I buy music I hear on YouTube because I want to support musicians. If I'm going to learn the music, I will buy the song, I'll buy the track and learn it. I will also listen to it on YouTube. I also want it for my car. I also want it when I'm, I don't know, elsewhere apart from YouTube, you know? Those are the reasons I buy it, so think about the reasons why you would buy it and see if that works.

The other thing is, there are some people who are not on YouTube, so they will buy your tracks, but, this is where I would say: Be really, really careful. There is software out there that people can just take the URL of the YouTube video, stick it into this program, and it will extract the audio. They've got the audio and they're happy because their moral compass says that's fine. As a musician, I think it's not fine, and I don't think it's just about that person. I think it's about the person who made that technology. I'd say: "Why did you make that available? It's stripping musicians of their pay!" But it's here.

Sometimes, you might put music on your website. I did this once and I didn't realize that you can sort of right click on it, open it up in a new window and then download it. Now, I've just probably told you how to hack lots of websites, but I implore you to have a heart for the musician and advise them that it's possible to do that, but not do it! Buy their music because they're making a living. They're building their music. It's a bit like, you know, if you're a plumber, would you like to fix someone's water system and then [they] don't pay you? It wouldn't be nice, would it? So, please support our musicians. Please support our music industry. We give great value. Sorry, Phil, I'm on my high horse again.

What I would say to that one is: because of the software stripping, because people will probably just listen and not buy it, if you use an online distributor, maybe on Spotify and places like that, although you might get a penny or a fraction of a penny, you're not gonna get much. I would actually do samples. I would definitely go down the sample route. 30 seconds, 15 seconds of something that you think is great, the hook or whatever, to get people's attention. But not just the sample, you've got to link it into a sort of a funnel whereby people will click to get more to buy.

When I actually had my album, I released one song from it, which a lot of artists do. I've released just one track off the album and that's called a loss leader, because they don't want to make money from it, they want the market penetration, the attention, they want to link to it for their EPK (electronic press kit), use it in a particular way, so they're not too bothered about where it goes. But then, when people go to buy the album, buy the t-shirt, buy the hat, whatever, they're making the money. It's a business way of looking at how you sell your work. Hope that helps.

QUESTIONS FROM THE AUDIENCE 5:

Um. From Angie Lee: "Hiya, how do you get your music sold?" It is not a simple response. I've said a lot of things today, hopefully those will help. But: You need to have a promotional plan, how you're going to promote it. You need to have an advertising plan, how you're going to advertise it. You need to have a marketing plan, where you're going to find those people. You need to have a fan base, you need to have gigs, socials, there's a lot of things you need. As I mentioned before, I do have a course that is coming on how to create music and release it and get it out there, so I'll be letting you know when that's free, but hopefully some of the tips I've actually mentioned today will help if you've got something now. To be honest, if you've got something now that you are struggling to sell, it really is to get gigging and get telling people you've got it. Get singing that song, performing that song so people can hear it. You've got to do that live for people to get it and then tell them where they can buy it. That's your job to sell your product.

QUESTIONS FROM THE AUDIENCE 6:

Wow, I've gone on a bit long today, haven't I? I'm going to have to wrap up. Geraldine Adams: "How are you doing?" I'm sweating! I'm hot! I'm hungry. I've missed my lunch. "Do I record a whole album or do I release one [song] at a time?" Again, it's back to strategy. If you want to release everything all at once, to sell it all at once, you can. If you want to release them as singles, you can. Stevie Wonder did this really well. Back in the day, labels had this thing of releasing singles. Single, six months later, single, six months later, single. And eventually, those singles become part of the album, or the greatest hits and stuff. That's a technique that is done.

ADDITIONAL MISC QUESTIONS:

Um, let's have a look. "Do I need a copy of a compact disc or do I sell online?" Again, entirely up to you, Green Pearl. It depends on the age group you're targeting. If CDs work for them, go for that. If they're online, go for that. You can do both. I do both. It works, you know, for my market.

"When writing songs, how do you get around issues with rhymes?" Ha ha ha ha ha There's something called a rhyme dictionary. You can check that out online. Type it in. Rhyme. What words rhyme with X, Y, and Z? It'll tell you what rhymes with X, Y, and Z. That's rather a quick one.

"Any funny studio stories from when you recorded?" Hm, I can't think of one off the top of my head. I'm sure there's probably one, but if not, I'll put that in my course so you can listen to it there. There's always funny ones.

"I usually just stream my music." Yeah, streaming services. That's fine. That's fine. But if you're trying to make money, it's a different approach.

CONCLUSION:

Okay, everyone. It's been good having you here. I hope you enjoyed it —I'm sure you did. Now, tomorrow, I'm going to give you three essentials for putting on your own show. What I mean by that: musicians, sometimes you just want to have your own show where you can bring your fans to, but it's not just about setting up a date, a place, and people rock up. There're three things you need to make sure are in place for people to rock up and support you. So I will see you with that tomorrow.

Don't forget to go like, subscribe, please share this out. It'd be really good for you to do that. If you've not got your free gift, if you want to keep in contact with me, if you want to know when my next sort of courses are going —because I do some free courses. I did, recently, one about getting paid your worth. The replay will be coming up for that. I've got one about how to get started on YouTube, the video's coming up for that. I've got videos already out there, I did promise you one about getting gigs. I will drop the discount code later on this afternoon for that, for you.

I look forward to seeing you tomorrow. I'm just going to look over here to get my music rolling, and... see you soon.