Michael Walker: If you’re listening to this then you likely already know that being an independent musician is a lonely road. And maybe your friends and your family don’t fully understand why you do what you do, or why you invest so much time, energy, and money achieving your music goals. And especially early on, it can be hard to find people who really understand what you’re trying to accomplish and how to make it happen. So, that’s where Modern Musician comes in! My name’s Michael Walker and I can understand and relate to that feeling. I’ve been there myself, and so has our team of independent artists. The truth is that basically everything good in my life has been a result of music. It’s the reason I met my wife, my 3 kids, it’s how I met my best friends. And now with Modern Musician, we have seen so many talented artists who started out with a dream, with a passion, without really a fanbase or a business. And you’ll take that and turn it into a sustainable full-time career and be able to impact hundreds, maybe even thousands or millions of fans with your music. We’ve had thousands of messages from artists who told us we’ve helped change their lives forever. It just gets even more exciting and fulfilling when you’re surrounded by a community of other people who get it, and who have shared their knowledge and success with each other openly. So, if you are feeling called into making your music a full-time career and to be able to reach more people with your music, then I want to invite you to join our community so that we can help support your growth and we can help lift you up as you pursue your musical dreams. You’ll be able to interact in a community with other high-level artists, coaches, and industry professionals, as well as be able to participate in our daily live podcast, meet these amazing guests, and get access to completely free training. If you’d like to join our family of artists who truly care about your success, then click on the link in the show notes and sign-up now.

Jeremy Serota: How do I build authentic relationships with people? How do I connect with people? I always go back to something that's always stuck with me for life which is: if you take a genuine interest in other people, they're going to take a genuine interest in you. And one of the ways you go about achieving that is you find a platform that resonates with you.

Michael Walker: It's easy to get lost in today's music industry with constantly changing technology and where anyone with a computer can release their own music. I'm going to share with you why this is the best time to be an independent musician and it's only getting better. If you have high quality music but you just don't know the best way to promote yourself so that you can reach the right people and generate a sustainable income with your music, we're going to show you the best strategies that we're using right now to reach millions of new listeners every month without spending 10 hours a day on social media. We're creating a revolution in today's music industry and this is your invitation to join me. I'm your host, Michael Walker.

YEAAHH! [chuckles] All right. I'm excited to be here with my new friend, Jeremy Serota. So Jeremy champions digital music licensing for independent labels, distributors worldwide. They have 15% of the global market share, and they empower the members to negotiate premium music deals with services like Apple, Spotify, TikTok, and YouTube.

He has a background in technology law. He's had leadership roles at Warner Music Group, and he was an early member of the Facebook music team, and so I'm excited to connect them today on the podcast and have a conversation about the current state of the music industry, in particular with AI and the music industry and what they're building right now with Merlin to help usher in the next age of monetization for musicians. So Jeremy, thank-you so much for taking the time to be here today.

Jeremy: Thanks so much for having me. You just walked through the age old, interesting, challenge and opportunity of music. Basically, every year it's completely different.

Michael: Right. Yes, I mean, gosh, maybe we just dive right in. So, I'd love to hear… Obviously you've been doing this for a while. You've seen a lot of different types of challenges, different ups and downs. I'm curious how you perceive the current landscape of at the time of recording this. There's huge waves are happening with AI, music generation, and kinda this next evolution. What do you see as some of the biggest challenges that artists are facing right now, and how can we help them overcome those? 

Jeremy: Yeah, let's dive right in. Yeah, so 2024, even though, if we just take AI as just one example and then we'll zoom out from there, no one was really talking about AI even 12 months ago, or if they were, they were talking about it as this future state opportunity or issue that was coming 5-10 years from now, and suddenly it's all anyone can talk about because music has always been at the forefront of both technology providing an opportunity, I think about how much technology has helped change the way we create music and distribute music and the way people engage with music. When I grew up, we were still buying cassette tapes, then CDs, and then there was this small window of digital downloads, which almost no one remembers anymore. So it's been really fascinating how much technology has really shaped the way we interact and create music, but if we zoom out, one of the issues that I hear from our members, who represent artists from all around the world, ranging from companies like NinjaTune and Armada in electronic, to better noise representing rock, to curb records, representing country and Christian, or Fluxus in Korea. What everyone is saying is this moment economy we live in, where everything just moves so fast. I was listening to a song recently and the intro was 47 seconds before they even got into the song.

Michael: [laughing] What?!?

Jeremy: Yeah. I mean, mind blowing that this is how music was created is you would have a 47 second just build up to the actual song. Now, I love that because what is so incredible about independent record labels and independent distributors is that they truly support artistry, authenticity, and creativity. They give much more license to that, and that's where you get things of that nature. You get all these different types of niche genres that are supported, and so if we talk about this moment economy where sometimes you have half a skin to grab someone's attention before they move on, they skip to the next song, or they watch the next video on TikTok, or YouTube shorts, or Reels on Instagram. If we talk about, well, what is one of the pieces of advice, I guess there's two pieces I would give, which is, think of AI as just one technology in a long string of other technologies that have helped you create music, inspire you, help you produce something better. That's one way AI can be used as a really powerful technology for musicians. And then if we go back to this moment economy, and what I hear a lot of is: it is really hard to break through, even for established artists, let alone an artist who's trying to have their first single, or they're trying to create their first hit, or they're just simply trying to find some traction with an audience. That's why I think about that word “audience”. You start with: what is the creative output? What is the incredible music you want to create? What is it your talents lie? What are you trying to express yourself as? Full stop. That's the starting point for an artist. And then you go to: where do I find or create that audience that that's going to inspire that's going to create some sort of  emotion or passion or interest in? That's one way to start just maybe reframing how to think about music, because I hear a lot of people saying: how do I get a viral hit on one of these social platforms? There's a couple of things to that. One is the reason it's called a viral hit: it's viral, which is great, but that's really hard to make happen. But even from there, I hear a lot of artists who have viral hits. You see this massive spike, which is like a crazy dopamine hit, and then the cliff after it is even worse, and trying to sustain that and build from that, as opposed to building an audience, building a fan base, even if it's much, much slower, is more sustainable over the long term.

Michael: Good stuff, man. So, there's a few big ideas to unpack there. So one idea that you mentioned that I thought was really interesting is the moment economy and how you've kind of seen this shift from longer form content to like more and more short form content and our attention is more and more… like you have smaller amounts relative to the amount of the ocean of the internet. So that's super interesting. Also the point that you brought up around viral hits and how that's something that's really easy to have a goal to like to go viral, but maybe we don't fully understand the consequences, the ripple effects of maybe you go viral, but if you don't have the foundation in place, if you aren't actually building a solid root structure, then it's almost like a storm that uproots your plants, as opposed to like building these foundations, building these roots that really serve you in the long term. Super interesting. So maybe as it relates to that specific challenge around cutting through the noise, or maybe we put it this way: if the solution is to rather than getting caught up and trying to go viral for viral sake, instead we want to focus on building an authentic connection with the roots, like with the audience. How do artists get started doing that? How do they find the right people that are going to resonate with their music, and how do they start building real relationships?

Jeremy: Those are all really great questions, and in fact, no matter what you do in life, either professionally or personally, you can always ask yourself the same questions. Now, how do I build authentic relationships with people? How do I connect with people? I always go back to something that's always stuck with me for life which is: if you take a genuine interest in other people, they're going to take a genuine interest in you. One of the ways you go about achieving that is you find a platform that resonates with you. Because I'm not an artist, let me give you from somebody who writes a lot, how I do that. LinkedIn is a platform that resonates with me. One of the ways that I've created relationships or started a relationship is by actually going out and reading what other people write and responding to that. Not just “great job”, “really neat”. Saying something about it. Commenting on it. Giving them ideas. I always loved the idea of: give like you have no expectation of return and you can find things coming back to you. That's challenging because for a long time, it's going to take time to build that till something comes back your way, and so I say all this by saying: depending on where you're located and the audience you're trying to find that could be online, there's so many different platforms to connect and to share, even Twitch now is this incredible platform that a lot of people don't think about. It doesn't work for every artist, but for those where that's the cadence of which they can operate, that's a great platform. And so there's platforms like that all around the world, and that could also be just simply live. There's so many different venues for music, for music creation, for opportunities to interact with other artists, and one of the ways you create momentum is you just have to start somewhere and then just start to build it up in the same way that you start to build fans and you can start to build that up as well.

Michael: Got it. Yeah. So, it sounds like what you're saying is that it's important not to get too wrapped up in trying to have immediate results. It's really like everyone starts out somewhere and you have to be okay with getting the momentum started somewhere. Even though you mightn't have millions of fans or thousands of fans, you have to just show up and you have to start planting the seed. You have to start showing up on the platform that you personally resonate with, whether that's Twitch or other platforms, and focus on genuinely being interested in other people, as opposed to making it like me, me, me, me, me. If you actually genuinely show up in a way where you're looking to build real connections, then people can feel that, and it's going to be a lot more attractive, and you're going to build a stronger community because of that.

Jeremy: Yeah, that's exactly right. This opportunity, I almost liken it to someone who's unemployed and when they're out of a job. One of the most important things when you don't have a job is to keep a positive mindset, and that is the most difficult thing to do when you don't have a job because you feel this intense pressure. Like: the longer I'm out of the job, the more difficult it's going to be for me to find one and people are going to judge me. I'm not trying to compare artists to unemployed, but the mindset's the same thing: when you're not finding that traction, you're not building that fan base at the cadence or speed you want, or people aren't streaming your songs the way you think they are, maintaining that mindset is so important because it's going to be either a slow build, or suddenly you're going to get discovered out of nowhere. But it's all about maintaining that positivity, about being forward looking, not about holding yourself in the past of like: why didn't this happen? Or why did this other person succeed when I didn't? You almost need to apply this 80-20-10 rule. That math doesn't work. That was some music industry math there. [both laughing] 70-20-10: 70% doing what you know works best, 20% trying to riff off of that, and then 10% just like completely experimental; just trying something totally new, and not just about the music you're creating, but also about opportunities. Like: let me go to this thing or try this thing that I have no idea, I don't think it's going to work, but let me try it anyways. That sort of mindset can really push you in different directions, both from a musical perspective, from a networking perspective, and from understanding how to build a fanbase, how to build a career.

Michael: Awesome. Yeah. I love that framework 70-20-10. What that reminded me of is, I feel like this is a mistake that I've made before, and I think a lot of us have fallen into this trap, which is like: we have something that's working well and then you get really excited about this new thing and you forget to keep doing the thing that was working well. [both laughing] I mean, I know I've fallen into that before, and it's kind of a common like shiny object syndrome. So I love that framework. Like, yeah, maybe you don't stop doing the things that they're working well, but also, it's really helpful to have a framework to focus on some of these new ideas and exploring. The other point that you brought up that I would love to dig into is around that concept of at the beginning, you kind of have to have this phase of almost like faith. Faith that what you're doing, like you're showing up, you're doing the work and that it's going to pay off. I think that could be a really challenging place to be in at the beginning, because you don't necessarily have the fruits of your labor yet. You have to have sort of faith that it's working. I know for me, what came up was thinking about getting started in sales and learning how to make an offer and how it's so much harder to make a sale if you really need the sale. If you actually really need the money, then you're leaning in and it just feels wrong, and it's just like the whole energy flow, versus if you're able to completely let go, and it's not about you trying to make the sale or trying to convince. It's just totally relaxed and it's just about creating a win-win, and then it makes it way easier. But sometimes finding that, especially at the beginning when you actually do need the money, and I think for a lot of artists that are listening to this right now, it's like, I do need money, but I don't want people to feel like I'm asking them for money. I don't want to be able to feel like I'm trying to sell them stuff. So what's your mindset around making money as an artist, as a musician, and maybe how can we help overcome that challenge of being in that initial stage where like, you know, you need to learn how to monetize and how to make sales, and maybe that's something that we're not totally comfortable with yet?

Jeremy: I had an old boss who was a mentor of mine and he said: one of the ways to think about life is you're doing one of two things: you're buying or you're selling. I said, well, aren't we also sleeping? Aren't we also relaxing? He's like, yes, I understand, but if you take this mindset, sometimes those words have become a little bit dirty, but they're really not because if you believe, for example… so Merlin. I'm the CEO of Merlin. I believe so passionate about the mission of Merlin, the impact we can have for our members, these record labels and distributors from around the world, the impact we can have on our partners, whether it's Spotify or TikTok or Meta. We have a relationship with Canva now that we're truly making a difference for them, for the artists and their music, but to do that, I'm selling Merlin. I'm selling Merlin as a brand, as an experience, as an opportunity, and I don't think of that as dirty because I'm so passionate about what I sell. If an artist could apply a similar mindset to what they're doing, and reframe it in their head then it becomes a little bit different experience. Now it is challenging because the creative mindset doesn't always channel into: let's move away from the concept of selling into sales itself. Sometimes those 2 don't line up. Kike your ability as a songwriter, as a musician might be a very different mindset than the ability to channel the practical steps of how you make a sale. But, there's so many other ways whether you want to be a musician or in a band, but you're also a really talented songwriter. Are you doing that? There is an opportunity to sell. Are you in a band and that's what you're trying to succeed in, but you can be a session musician on the side? Maybe you also have a talent on the engineering side, or production side. That's part of, I don't want to call it hustle because I don't like that word, I think that is, to me, actually a dirty word, but someone who has these talents but just hasn't thought about how they can apply them in other ways, to then help support the thing that they fundamentally want to do. This is the thing that I want to achieve. Then the last piece I would say, and this goes to the mindset, I talk a lot about this with my team, right? I love my team. We have 50 people at Merlin who are doing everything they can to super serve our members, and they work at Merlin instead of say, Universal Music or Warner Music because we operate just like a not-for-profit. So everything we're doing, our entire value is about what do we do for our distributor and label members. One of the ways that I inspire them to do that is I say: start with the last page of the deck. What do you mean last page deck? What does that page say? What happened? What's the finale? If you wave your magic wand and you can make anything happen, what does that look like? The reason you do that is because yes, if I could wave the magic wand and make everything happen, but a deck makes you crystallize it into these concrete outcomes. So if musicians could do a little bit more to crystallize the outcomes they're trying to achieve, not just have a lot of streams. Of course, of course, you want to have a lot of streams. You wanna have a very big fan base, but if you can actually in concrete ways say in 5 years, this is what it looks like, well then you know what you're building towards. If you know what you're building towards, then you know a little bit better, probably, what you need to be doing along that path.

Michael: Yeah. So it sounds like what you're saying is that one way to kind of reframe the challenge around selling, is sort of understanding better the value that you're providing and focusing on that impact, as opposed to focusing on trying to sell something. It's more so about the transformation or what you're giving. Along those lines, when it comes to the actual process of selling, as much as you can focus on the outcome that you're looking to provide, the better both for you and for the community, because having that clarity is sort of like, I don't know, there's so many studies now just around goal setting and how when you write down your goal it becomes significantly more likely that you're going to achieve it. So it seems like what you're sharing is that: look at the way that you build a successful music career is to get really, really clear on the specific outcome and specific impact that you're looking to make on the lives of your fans, and if you can communicate that, then in a lot of ways, the “ickiness” or the “dirtiness” of selling goes away, because it's not at all about you using this as a way to lead someone towards something that isn't right for them, but it's more so about you helping create that specific outcome or that impact or that transformation that you're looking to create for them.

Jeremy: I think that's a great way of crystallizing it for your audience. It's about impact, but having impact is about selling. It's part of this spectrum of like: to get to the place you want to be at the end of the day, is you want to have an impact on people's lives through the music that you put into them. Then it's like: what steps you have to take to get there. Part of that visualization process is it forces you to think bigger. So I had an exercise many years ago when I was trying to think about my next job. I said: I don't know! I don't know what I want to do. I don't… Well, don't put you want to do. Why don't you just focus on companies you'd want to work for? I was like: well, where do I find their job postings? It's like, stop, don't worry about what jobs they have listed. Go look and just give me 10 companies you'd want to work at, and then tell me why. Then from why, tell me where you'd want to work at them. And suddenly it was like: Oh, you just break it down to these steps, and it's easier than saying: what's my next job? Because “what's my next job” is almost too big sometimes. And sometimes people know exactly what it is. So if you apply that to a career as a musician, as a songwriter, someone who's working just in the music career industry, whether on the business side or engineering side, suddenly it becomes a whole lot easier to take those steps and to think about it. Even for a creative mindset that doesn't operate in a… I'm very process-oriented. I have a creative side to me as well, but we’re incredibly process-oriented where we have checklists and we go through an entire process and our company is all about automating so that we can deliver more white glove service. but there are simple ways of just… Because suddenly, when you just start thinking about it in different ways like that… When I was younger, and a lot of people do this with Wikipedia now, they just go to the random Wikipedia page to learn something new. Not because they're like: oh, I've always wanted to know about why this comet travels the way it does. It's like, yeah, interesting knowledge that you'll forget, but what it does is it forces your brain into different directions and different neurons are firing, and so anytime you can force yourself out of thinking the way and operating the way you normally do, suddenly the world just starts opening up and it opens up the possibility. So I'll give you the example from Merlin. Our 70/20/10: 70% we have our existing digital partnerships, traditional ones, some of whom, Spotify, we've been in business with for +15 years. Then we have the 20% of new companies that we want to work with. So most recently that's been AudioMack, who's really big in the hip hop scene and very huge presence in Africa, and the sort of fan artist relationship. We have Canva, which is all about creator tools and about how music can complement the social assets, the enterprise, the presentations you make. And then we have our 10%. We're calling it this big bucket called Merlin Connect, which is: how do we just go out there and find these new partnerships? We're not focused on music first-tech companies. We're focused on bringing quality independent music to companies who haven't even thought about music, or have thought about it and said: it's too tricky. That's our 10%. So that's how we've kind of thought through, at our level for what we do as Merlin, and that 10% absolutely, we're going to find success there. We're working on our hero story right now, but even just doing that gets us to think differently across everything else we're doing, and operate differently, and engage in different conversations than we normally have in the 70-20. That's been really helpful at pushing our company along. So I think if someone just said: okay, what is my 70, my 20, my 10 buckets, and just started splitting their weeks, their months up into that, suddenly the world's going to open up to them more.

Michael: It reminds me of the skunk works concept. I know Google, some of their best products like Gmail and whatnot, kind of came from this exact concept of having some sort of division where it's just like: just go crazy; just like have fun! I love that model 70-20-10 so that you can keep your eye on the prize of what's really working, while also being able to explore those different ideas. One thing I would love to dive a little deeper into, because you just mentioned it with Merlin Connect and I know also that you have a background in AI technologies. There's a lot that's happening right now in AI technology, so I'm curious to hear your perspective on where things are headed right now with AI, and your particular role that you're interested in exploring with Merlin Connect.

Jeremy: Yeah, let's pick up on AI a little bit. There's a lot of different routes. There's one big demarcation for me right now, particularly around music, which is: those who are going to be on the right side of history and those who are not. For someone who's always, I've always been more on the business side. I still have my guitar in my closet that I probably haven't played in 20 years, that I was never very good at to begin with. What I've realized is where I'm super effective is I can understand; I can relate to creatives, I love what they do, but I support them a whole lot better on the business side. That's where I step in. So when I think about people who put so much time and energy and passion into what they create; this originality; this authenticity, and then to say that shouldn't be protected; that shouldn't be rewarded; that shouldn't be part of something that they can have control over, I just find there's just a real ick factor with that concept. Putting aside… even if you ignore copyright laws for a sec, just the concept? That just doesn't feel right. So for us, we are big fans of: anyone who's thinking about this in the right way, when they're building these large language models, or thinking about how music is going to play a role within their companies. We're looking to work with/partner with/help AI companies think through the way to be on the right side of history, and how that can benefit our members. Where is AI going? Wow. I mean, it just depends what week we're talking about this. If I say anything right now, in 3 months alone it won't age well, [both laugh] but what I will say is it is here to stay, it is going to be a technology that is going to be a part, as we talked about earlier, the creation, potentially distribution, but definitely going to have an impact on how people create music and put it out into the world. That's a good thing cause that's the role of technology’s always played. There's a real question right now, whether on other facets of music, it's more toys or tools. There's a lot of toys. There's a lot of people shopping their ability to help you in this space, and I think there's a lot to see shake out, but what I do know is that there is going to be a component of this, just in the same way sampling became a component; just in the way electric guitars, a modification on more classical guitars. It's always been an evolution. I think that's a positive in the way I see it. Then this is where Merlin connect in particular can play a role, which is: one of the biggest challenges around music is it's really complicated. At the surface, what you see; the output of a musical creation for a consumer, a fan, a user, it's super simple. Oh, there's music! Look at that. That's cool! I can listen. I can engage. But behind the scenes, there's just like really long tail of complexity of rights and ownership. One of the key facets of what Merlin Connects’ trying to do is just simplify all of that for these emerging technology startups. How can new platforms access music in a much more seamless fashion, quality music, and how can they do it in such a way that it gives them a little bit more latitude to experiment and find a product market fit, find how it can resonate with our audiences. In return, we want to have value for our members and their artists from that. So we want to simplify all this, take away the time, the resources, the complexity, even the complexity around the operational side, which can be really difficult for a platform. If we can simplify all that, provide them quality music, help support them to understand how that can resonate. So many times I've spoken, because I have worked in a tech company; I worked at Meta for 2 years. I can't tell you how often I would speak with engineers or product managers and they would talk about music and they would call it inputs or binaries. I get it because that's the perspective. They're not trying to say anything offensive, that's just the mindset they have. What we were able to do as a music team at Meta, is to better understand the cultural cachet that music can bring; the emotion that music can bring. Part of what Merlin Connect is doing is helping people who are builders, who are engineers, who are founders, to understand the emotion, the culture that music brings, and how that can fundamentally change their platform: create user growth, user stickiness. The entire experience is going to be different by having music there, and find the new ways that music can create a new wave of monetization. We need more money in music. Music is one of the most ubiquitous, if we want to call it objects, in the world, and yet it's the most under monetized despite all the efforts we've made, our partners on the digital side have made. There's still so much more opportunity there. and if we can just tap into a little bit of that… Well, for all of the artists and musicians who are trying to find their way, the bigger we grow the pie, the more places music can live, the better it is for the ecosystem overall. So that's what Merlin Connect’s trying to achieve. As you can tell, I have both these really small ambitions, like let's just find one platform to partner with, and then I have this very large ambition about how can we just fundamentally reshape and grow the music industry into the next era. 

Michael: Amazing. I mean, it certainly seems like the music industry is ripe for… There's a big opportunity just to reshape it because there are some such core challenges right now in terms of monetization in particular and, really, compensating the creators. There's a lot of room for opportunity there. So, grateful that there are platforms like you that are doing their best to help serve the whole industry, including the artists. So, man, Jeremy, thank you for taking the time to be here today and be able to share some of the lessons that you've learned from growing your own company. For anyone that is listening or watching this right now, that obviously like… We have quite a few independent artists who are listening to this right now and it sounds like Merlin really focused on the partners and the industry members in particular. So 1) I'm curious for: who specifically is the ideal best fit candidate. Someone's listening to this right now, who is like a perfect partner for you guys, what specifically are you looking for and how can they take next steps in connecting with you? I'm also curious if you have any channels that you could also offer in terms of next steps for connecting with independent artists as well.

Jeremy: Two great questions. The first one, I'm gonna do second because I wanna think about that for a sec. I don't know if anyone's ever asked me who my wish partner is, but I'm gonna get you a good answer on that one. Anyone interested in learning more about Merlin it's merlinnetwork.org. It's @MerlinNetwork with two Ns. We're on Instagram, we're on Threads, we're on LinkedIn. You can find us on all those spaces. We talk. Because we are a member-led organization, we talk a lot about our members. So the labels and distributors, many of whom support independent artists as well. So if you're interested in learning who's a part of the Merlin network, it's a great opportunity to look at our socials. We highlight our members constantly and their music. So there's a lot you can learn, even as an independent musician who may not be set-up for success to join Merlin, typically we have labels and distributors who are more set up for success because it's a big operational lift. We're not a vendor, we're a membership organization, and so that means you have commitments, you have responsibilities. We're just here to support you to help you better own your independence, but ultimately our members are responsible for it themselves.

I just read Shoe Dog, which is the Phil Knight story of Nike. I don't even know what that partnership would look like, but man, that'd be a lot of fun to work with Nike. I think that's a great organization. I would love to build something with Nike. That would be great.

Michael: Awesome. Well hey, if anyone's listening right now that has connections to Nike, it seems like there's a potential opportunity there. Cool. Well, Jeremy, man, thanks again for being a part of the podcast today! Like always, we'll put the links in the show notes for easy access and I'll talk to you again soon.

Jeremy: Thanks so much for having me.

Michael: Yeeeaaaah. Hey, it’s Michael here. I hope that you got a ton of value out of this episode. Make sure to check out the show notes to learn more about our guest today, and if you want to support the podcast then there’s a few ways to help us grow. First if you hit ‘subscribe’ then that’s make sure you don’t miss a new episode. Secondly if you share it with your friends, on social media, tag us - that really helps us out. And third, best of all, if you leave us an honest review it’s going to help us reach more musicians like you take their music to the next level. The time to be a Modern Musician is now, and I look forward to seeing you on our next episode.