Michael Walker: Yeah. All right. I am excited to be here today with my new friend, Evan Bogart.

Evan Bogart: Hi. 

Michael: So, we were just joking backstage about how every once in a while, when I'm reading a bio, like I have to confirm if it's legit because AI, it simulate, it can hallucinate and it can come up with like, wild things.

And some of like the names that I was like, is this legit? And backstage I was connecting with one of the team members, Patrick, and he's like, oh yeah, no, that's Evan. So, I'm super excited to connect with him today. So, Evan—

Evan: I've been hallucinating for 30 years, so it's perfect.

Michael: Just a very long LSD trip. Well, man, so a little bit… a quick introduction for Evan. So, Evan has contributed to the discovery of iconic artists like Eminem and Maroon 5. His hit songs are for Beyonce, Britney Spears, and Rihanna. He's had to overcome some personal adversity, leading to him co-founding Seeker Music, which offers A&R, art development, and strategic expertise, and executive producer for Spinning Gold, he chairs the Grammy's songwriter’s wing.

And in addition to all of this, he's involved in Web 3, an animated series of pop musicals. So, man, Evan, you're the real deal. And thank you for taking the time to be out here today to share a little bit about your experience. And from your perspective, where things are headed right now in the music industry.

Evan: Yeah, it's all… I do a lot. I've done a lot. I've really enjoyed this ride. It's been a really awesome journey and, I love music, and I love music makers. That's why we're here.

Michael: Absolutely. So, I would love to peel back the onion a little bit and just kind of understand a little bit about it. I'm sure, this is quite a journey that you've been on and part of this, discovering and co-founding Seeker Music, you mentioned that you had to overcome some adversity to go through that.

So, I'd be here to hear a little bit about your backstory and kind of how you were able to collaborate with artists like Eminem, Beyonce and Rihanna just like a couple of amateurish artists.

Evan: So, I was born to music business royalty. Somewhat. My dad was kind of like a legend in the 70s. He's mostly synonymous with being the king of disco. He brought disco from the undergrounds and the mainstream and largely through his artists like Donna Summer and the Village People.

And he also signed Kiss and Parliament, and before his label Casablanca, he was running another label before that. The Isley Brothers and Gladys Knight and Bill Withers and Curtis Mayfield and the list really does go on. But he passed away when I was four in 1982. I have virtually no memory of him, personal memory of him.

I've seen videos and stories and whatnot. But my mom was also in the music industry. She was a manager. She discovered the group Kiss and brought Kiss to my dad. And that's how they met and fell in love. You know, she got out of the business shortly after I was born in the late seventies to be a mom.

And I kind of grew up on the outskirts of the, I would say music business adjacent, right? So, like I knew my parents used to be in the music industry. I knew they had friends who were in the music industry. I didn't really know what that meant, but I knew there was a lot of music in our household and my older brothers and sisters listened to so many different types of music as did my mom.

And you know, my dad had signed so many different types of music. It was a very diverse musical household – lots of concerts, lots of listen to this new song that came out… really kind of idolizing my brothers and my older sister's music. And that really helped him. It kind of informed me as a kid.

And as I got into high school, I found myself becoming both a fan of again, just as eclectic fan as I grew up in my household, but like mostly hip-hop and like grunge. It was like very kind of like… you know? And pop and pop music was very much like late eighties, early nineties, I would say hip-hop, pop, R&B was like mostly what I listened to.

And then like, Seattle Grunge. And I wanted to be a rapper. I wanted to be a producer. I bought my first drum machine SB 1200 because I wanted to be DJ premier and I bought technique turntables and a new mark mixer that also had a sampling function in it. And I was like one of the first kids in my high school making beats and like DJing and rapping and kind of came up through high school.

That's what I wanted to do. I started interning at Interscope in the summer of 1994, in 10th grade. So, this technically in 2024 would be my 30th year in the music industry. I have now spent almost two times the amount of time in the music industry than out of the music industry.

Michael: Hmm. It's about my whole life.

Evan: Yeah.

Michael: Right now.

Evan: Yeah. So when I was 16, started doing that and 30 years later, here I am. I started working in the mail room when I was 18. I didn't go to college. I went to Interscope Records University, and I tried to get myself signed and it wasn't really… it was like kind of pre-Eminem days wasn't really like.

A market for what I was bringing, I kind of just settled into being in the mailroom and wanting to be an A&R and kind of following the footsteps of my dad, who I didn't know. But I knew of him, and I knew the legend of him and I just, probably on a deeper, more like subconscious level, that probably made me feel closer to him in some way, to kind of follow in his footsteps.

‘Cause I didn’t really get to know him personally, this was the closest I could ever get to him—kind of following in his footsteps. I went on this journey, and I loved music, of course. But subconsciously, that’s probably what brought me into it. Right. I started working in the mailroom and very quickly got myself promoted to the A&R department where the first posthumous Tupac album was the first record I ever worked on. Then, I had one of those moments where the universe did its thing. I played hooky from working on the Tupac project, sneaking out of the studio to go to a freestyle contest in Inglewood. There, I caught lightning in a bottle—the most incredible rapper of all time.

In a freestyle battle, like you would see in the movie Eight Mile, I approached him and got his demo and I spent the next five or six months working really hard to try to get people to listen to it at Interscope, and by chance, Dre happened to hear it and that happened.

And so, I was at Interscope, working on those projects, until close to the end of the nineties, then I left to go into management. I wanted to be able to become a manager and learn the management world and I was still doing some A&R for Warner Records when the president of Interscope went to Warren Warner.

He brought me over there to do some scouting for him and development and then in the midst of all that, the adversity you speak of, I found myself really kind of getting… you know, had a very thriving management business and then found myself getting caught up in kind of like the LA scene in my early, mid-twenties, and impressively, systematically through it, threw away everything. I can almost teach a masterclass on how to lose a guy in 10 days, how to destroy your entire career in a year. Really got caught up in the Hollywood of it all. For those who are just listening, I did air quotes around the word Hollywood, the Hollywood of it all.

And found myself living at home again, broke, jobless, clientless, working part time at a lighting store on Melrose in Los Angeles. I wouldn't say like every day, but frequent enough, drinking and cocaine problem that one might think that it was my job, but I spent the summer of 2004 pretty… it was pretty dark.

And the previous couple of years before that were all so pretty dark, and I basically, as chance would have it, begged for a job working at an agency, as an assistant and really, really thinking about having to start over again. And I started working there, and about 5 months after I started working there, I got sober, which I've been sober now almost, in January, God willing, it'll be 20 years.

So, yeah. Sobriety has obviously been a huge part of my story, and in sobriety, a few things happened. I started getting really creative and I started getting really, really falling in love with music again and not the lifestyle. I signed a couple bands to the agency or help sign a couple bands to the agency that was hit pocketing baby bands, one of which was a band called Republic, which, you know, we now know as OneRepublic. And I also decided I wanted to put together a girl group. I wanted to create the next TLC, basically. And I auditioned girls, and I got songs from my friends who were writing and producing songs, including the recently aforementioned lead singer of the band Wonder Public, who was an unknown Ryan Tedder at the time.

You know, about 40 songs in, we didn't really have anything that was working as a hit, and people were gonna give me their A songs. But anyway, so, basically, I ended up having to write the songs myself, having never written pop music in my entire life. And people really, really loved my music, and we ended up trying to get the girls a deal.

And people really love the music more than they love the girls. Unfortunately, we had to let the girl group go, but the second song that I had written for them several months later became a number one song globally for Rihanna. It was Rihanna's first hit. It was called SOS. And it was my first cut as a pop writer, and it was this moment of like, oh, maybe I could do that, as I'm trying to figure out what to do. 

A&R, manager, lampshade seller, not that, not that, but you know what I mean? And I definitely wasn't considering that, but I did learn a lot about finials that summer. You know what a finial is? I learned like the things that you screw on the top of lampshades.

Michael: Oh, I always wondered what those were called.

Evan: They're called finials and people get really into like the decorative ones. Anyway, whatever. By the way, something, I never needed to know.

Michael: You know, people, they listen to this podcast to learn things, and they're not walking away from this one empty.

Evan: The universe really thought I needed to learn about the world of finials. Anyway, so, I ended up writing this song and then I was kind of faced with like, oh my god, I'm like a year and a half sober. I have this job… now I have this hit song at the same time. Like, what do I do? And, I'm getting pulled by a lot of people. Like, you gotta come write more songs. And then my mom, rightfully so, having been in the music industry and being a mom, was like, “Don't you dare leave your job.” About four months later, I became really mediocre at both.

I would get calls every day like, “Dude, you need to go in the studio.” And finally, I got a call from a manager friend who was like, “What's it going to take for you to leave the agency?” And I said, “I don't know. Put me in the studio of Britney Spears.” And the next week, I spent the week in Vegas with the guy I did SOS with, JR.

JR Rodham, working with Britney on Blackout. And I came back, and I quit because that, to me, was the sign. I was looking for a sign. As if, by the way, a number one song in 20 countries wasn't the sign. I needed another sign besides that. Right. And so I did that much to my mother's chagrin and yeah, I set off on this career as a writer and then about three or four years into writing songs.

Then I had a bunch of success with JR. He signed Sean Kingston, Jason Derulo. We had a bunch of success together. And then Ryan, my friend from my band that I was working with at the agency, his career took off Ryan Tedder and OneRepublic. And then Ryan and I started writing a lot together. We always were. But we went on a run together and we wrote Halo for Beyoncé and a bunch of other amazing songs.

And then about three or four years into that, that run I was on as a writer, I started missing the business side. I missed the A&R side. So, I decided to start signing and developing writers and producers and artists and kind of under my own wing, take them under my own wing as somebody who had A&R experience, manager experience, who grew up in an artist development household, who wanted to Champion other music creators, not just my own creator career.

And that's kind of become the three threads for my whole career, which has been kind of like the guy, the music creator, the songwriter who champions other songwriters, right. And the music creator who champions other music creators. That's really, really what I feel like is my purpose: to create great music… but also to really support and champion and help other people create great music.

Sometimes even more so than me creating great music. And that led me to Seeker eventually. But I spent the next 10 years working and developing and having some really great success, both as a songwriter and as somebody who was signing artists and producers and songwriters. Records and publishing and really kind of developing these small little businesses and partnerships with other music creators going into 2019, I kind of was like ready for a new challenge. To be honest, I was bored. I was just kind of like, “Ah, I feel like I'm doing the same thing every year now. What’s next?” I feel like I've done so many different things I really found what my purpose is but I'm not able to put my purpose to use on a bigger scale.

Like… how do I help more people? How do I affect more people's lives? And how do I celebrate music in a bigger way? Didn't know the answer, but I started meeting with everybody and just kind of sharing how I felt; what I felt like I was good at, and to see if there was a fit with major publishers, indie companies, management companies… just trying to figure out where the next fit was for me.

Again, House of Pate would have it. That's a very big through line of my life. I feel like the universe brings me what I need… what I needed. And I met these investors from the UK who basically said, we want to build the next great independent music company from the ground up. I said, “I have no idea.”

I don't know anything about buying catalogs. They said, we don't just want to buy catalogs. This was pre the catalog boom of 2021. They're like, we want to build a company that's creatively led, that would know what to do with the catalogs, but it is also developing and signing songwriters and producers and artists, and several people have said to speak to you. And so, we just kind of got to know each other while I was meeting with other people. And in January 2020, we decided to go into business together and build Seeker, which was going to be a publishing and record company, independent, independently funded, independently run.

That we were going to encompass signing and developing and creating music, which is my bread and butter, and encompass acquiring and investing in older catalogs and championing those songs and breathing life into those songs… and being able to celebrate music that had already been released.

And that was really exciting to me to think about taking on that challenge. And I say challenge, because largely going into it, I didn't really know the finance side of publishing. I didn't know the finance side of the business. That's not where I came up. I came up in the A&R departments, and it wasn't like I was exposed to that.

And I certainly didn't have… didn't go to school for that. So, when COVID happened, the creative side of the business really kind of shut down for most of 2020. Between COVID, between global unrest, there was a lot of distractions. A lot of the creative friends of mine, a lot of creators, found it really hard to be creative and especially over Zoom, which there's just no vibe. Not that, I know we're talking on this, but there's a­­­­­—

Michael: We're on Riverside. Completely different.

Evan: Yeah. Total vibe on river, but on Zoom, no vibe. It was really hard to kind of create music from the ground up. For me at least, and for a lot of other people. And so, I really use 2020 to learn finance and to learn the catalog side of the business and to upskill, you know? And I felt like, at that time, what was this four years ago? 42, 41 years old… when do you get a chance to build something from scratch and learn a completely new skillset? I just felt so grateful and so fortunate to have this opportunity, and then found I was good at it. Just like I was good at songwriting and I had no idea.

It just seemed like I had a knack for it and understanding for it. And so, I set out to build this company Seeker, which I, as a songwriter CEO, bring a lot of things, that are unique to me, and music creators to the company, as far as, strategy and business plan. As far as morals, ethics, the way we like to do business. As far as, what's important to us, what we look at, whether it's a catalog or a writer… we really prioritize passion and we prioritize art, and not the other way around. And I think the other way around me… the business side first, I think it really sets us apart from a lot of other companies that seem to do somewhat similar things. And so, I'm just having really fun building this company that I've been honestly thinking about since I was 16 years old in the mailroom at Interscope.

I didn't know what the company was, but I knew one day I'd have it, and I knew one day I'd have a perspective and that was all my own. And this journey that I went on helped me create that perspective. It was an insane journey, but I wouldn't change a thing. You asked, so I tried to give it to the most condensed way possible. I don't know how to tell the whole story without telling the whole story, you know.

Michael: I mean, it's incredible. Thank you for sharing. And I appreciate the story you just shared or just how honest you are about all the ups and the downs. And yeah, I think one of my personal questions for you is just as someone who has experienced very high highs and very low lows, and now having the perspective to sort of have experienced both of those. I think that gives you a unique perspective to my guess of where the name “Seeker Music” comes from. So, yeah, I'm curious, you experience that wide variety of ups and downs… what can you share in terms of, if someone is listening to this right now, is trying to figure it out and maybe they're in the ups or maybe they're in the downs right now. And they're trying to kind of get connected with their purpose in life. What's your main message that you would give to yourself if you were just going back to when you were in your darkest moment?

Evan: There's a few things. First, I don't know if somebody else said this and I heard it from them, or maybe I made it up years ago. Somebody said the music industry is where the lows are always too low, and the highs are never high enough. I always thought that was a really good description of how it feels sometimes. You're always chasing the next high, and when it's low, it feels really low. But we love music. It's kind of a curse. It's a blessing and a curse. One thing I didn’t do early on, which I wish I had, and something I’m really good at now, is asking for help—finding people who are better than me at certain things, learning from them, and exchanging knowledge and mentorship.

Early on, I fell into pitfalls and made mistakes, almost like unforced errors, because I had this bravado and ego. I thought, "I’ve got to do it on my own. I’ll make it. I know what I’m doing." Looking back, it was so misguided.

I say this to songwriters too: when you go into a room, there’s always someone better than you at something. Learn from them. I’ve learned to ask for help, to listen, and to grow—especially during the dark times. That’s the best time to grow and learn more about yourself. Being honest with yourself about what you don’t know and what you’re not good at is so important. Then, go find people who are better than you at those things. Learn from them. Go online, read, and educate yourself. It’s a great time for growth.

I wouldn’t say that when I was bored, it was a dark time in my career, but I was definitely uncertain about my future. I just didn’t think what I was doing—writing songs all year long, developing writers, and discovering new talent on a smaller scale—was sustainable. I couldn’t see myself doing it into my fifties. It didn’t feel fulfilling enough. Even though it wasn’t a dark time, I started asking people for advice. I’d say, "This is how I’m feeling, and this is what I’d like to do. What do you think?" I really leaned on others, learned from them, read more, and tried to figure out what else was going on in the industry.

A lot of people close themselves off because they feel insecure. They think they need to be tough or hard. But I’ve learned that being vulnerable allows you to evolve. It’s really about listening. (Although every time I say that, I think, "But you’re the one talking right now.") Still, it’s about listening, learning, and growing—especially when you feel like you’ve hit a wall. I’ve made a career out of pivoting. Once you’ve done it, you know you can always do it again. So, if whatever journey I’m on right now ended tomorrow, I know I’d figure it out. I don’t know how long it would take, but I know I would.

It’s never too late to start again. You just have to be patient, do the work, and stay open to growing as a person and as a businessperson.

Michael: That’s so good. First of all, I just want to say you have full permission to share as much as you’d like on this podcast. I’m asking the questions, but what you’re sharing is so valuable and pure gold. For me personally, it’s extremely inspirational hearing your journey and your story. So, thank you for sharing openly.

Evan: Yeah, of course. I’m an open book.

Michael: It sounds like one of the biggest lessons you’ve learned through the ups and downs is how important it is to be open and to ask for help when you need it. There’s definitely a universal truth to that saying, "Ask, and you shall receive." But in order to ask—and to truly receive—you have to acknowledge that you don’t know. That’s the anti-ego, right? The ego says, “I want to know everything.” But asking requires you to admit, “Maybe I don’t know, but I can learn and grow.” That’s such a valuable mindset to approach life with.

Evan: It’s also a scary mindset to approach it from. It’s so much easier to say it than to actually practice it. But I promise you, it’s the better path—better than running into a buzzsaw over and over again. And trust me, I’ve tried that too. Not pleasant.

Michael: Yeah, you know, I feel like this might connect because I’m also curious about the name Seeker Music and where that comes from. What comes to mind right now—and this is some interesting territory to get into, but I think it’s fundamental—is this idea of what we’re here for as humans. There’s that quote, “Be still and know that I am God.”

And look, I mean, God—this isn’t a religious podcast—but in meditation, there’s something remarkable that happens when you’re completely still. It seems like what you’re pointing to is this state of not knowing. It’s scary, but it’s also part of the great mystery that we’re all exploring here. So, I guess I’m curious, with Seeker Music, where did that name come from?

Evan: When I was putting this together, I got involved with these investors from the UK. They had a consultant named Ruby, and I knew her from some other things we’d done in or around the music industry. She was a friendly face, which helped.

I knew this was the next chapter of my journey. I had started thinking about names, but I hadn’t spent much time on it. During this 10-hour day in a boardroom where we were sketching out what the company would look like, we took a break about an hour and a half in. Ruby leaned over to me and said, “Hey, I have an idea for the name.” Immediately, I thought, Oh no. She’s going to tell me, and I’m going to hate it. She’s going to see it on my face, and how am I going to get out of this? I felt this wave of dread. Then she said, “What do you think of Seeker?” Instantly, I was like, Yes! That’s it. It hit me right away. This journey of seeking what’s next for me, the idea of a truth seeker, this passion—it encompassed everything I wanted the company to be. In my mind, I pictured a guy with a lantern in a cave saying, Follow me. Or maybe it was Arnold Schwarzenegger saying, Come with me if you want to live, but more like an old man with a lantern!

It felt like I was on a journey, seeking the next chapter. This name captured the idea of creating a better company for writers and songs and helping others on their journeys. It all came together in one word. It hit me so hard when she said it. Of course, like most corporate companies, we hired someone to do a branding exercise. They came up with a hundred other names, and everyone looked at them. But in the end, we all came back to Seeker because it was so honest and authentic to what we were trying to build. Funny enough, I’m also a massive Harry Potter fan—I don’t know if you can see over my shoulder here.

Michael: Hey, the Golden Snitch!

Evan: The Golden Snitch! Naturally, all my friends were like, “Oh, you named it Seeker because of Harry Potter.” I was like, No, but it doesn’t hurt! That wasn’t the reason at all, but it was funny because I love everything about the wizarding world. Ultimately, though, the name resonated with me on a much deeper level. The minute Ruby said it, I knew: That’s it.

Michael: It’s powerful. It seems like a consistent theme in your story, experiencing the ups and downs while being part of so many iconic cultural revolutions in music. Witnessing those moments must give you a unique perspective. A lot of independent artists are listening right now. They’re looking to reach more people with their music, express themselves, and grow. From your experience, do you see any patterns that differentiate artists who struggled and didn’t make it from those who had those “lightning in a bottle” moments and went on to create iconic careers?

Evan: That’s a really interesting question. To some extent, certain artists I’ve been around had something you can’t quite put your finger on—whether you call it the “it factor” or the “X factor.”

Michael: Hmm.

Evan: And, honestly, with a drop of narcissism. I know “narcissism” gets a bad rap, but think about it: If you don’t believe you deserve to be on stage in front of millions of people, singing your words to them, how are you ever going to make it happen? There’s a certain mindset involved—literally being the center of attention, standing on that stage, with everyone watching you. At the same time, I think it’s easier to talk about what held back those who didn’t make it. A lot of it comes down to what we talked about earlier: the inability to be open—to growth, to help, to new perspectives. That often leads to self-sabotage, fear of success, and a lack of balance or groundedness.

Another crucial difference is having a real perspective. Successful artists often have a clear sense of identity: This is the music I want to make. These are the people I’m making it for. This is how I want to make them feel. And I don’t care if anyone else likes it or not—I’m going to do it anyway. Eminem is a perfect example. He was unapologetically himself. His early work, like I Just Don’t Give a F**,* was literally about that attitude. When I first met him, that was his demo. It was raw, authentic, and unique—no one sounded like him. Another example is Maroon 5. When they were still called Kara’s Flowers, they were creating this live band, Stevie Wonder-inspired pop sound with rhythmic radio influences. At the time, bands dominating the airwaves were groups like Korn and Limp Bizkit. Maroon 5 couldn’t have been more different. Every label passed on them—except for one, Octone Records, whose founder, James Diener, saw something special. He recognized that their sound was unique, their songs were great, and Adam Levine was a star. But at the time, their style was the opposite of what was working on the charts. Adam was writing from deeply personal experiences, like his relationship with Jane (Songs About Jane). Tracks like Harder to Breathe and Sunday Morning carried genuine emotion. But back then, people thought they were too soft. I remember one label head dismissed them as a “Jamiroquai rip-off” and walked out of their showcase. What set them apart, though, was conviction. They believed in their music and had a clear perspective. They weren’t chasing trends or trying to sound like what was already successful. They stayed true to their identity. This pattern holds true for others too—like OneRepublic or Ricky Reed, who developed Lizzo. Lizzo is another great example of an artist with a strong sense of self and purpose.

The artists who succeed are those who know who they are, who their fans are, and what they stand for. The ones who struggle often second-guess themselves, change their sound to fit trends, or try to chase success instead of creating authentically. Knowing who you are and what story you want to tell is what sets career artists apart.

Michael: Holy cow, man. I’ve got goosebumps just listening to you share that.

Evan: That’s awesome—really fun conversation. I think I’ve inspired myself!

Michael: I feel inspired too. You’ve made it happen. For anyone listening who’s feeling the same way and interested in what you’re doing with Seeker Music, they might think they could be a good fit for what you’re looking for. Who would you say is the ideal candidate for Seeker, and how can they connect with you?

Evan: Great question. First, they can check out our website at seekermusic.com. There are email addresses and ways to reach out to us there—we get back to everyone. I have a full A&R team, and we love hearing from people. We listen to everything. You can also find me on Instagram and DM me—I go through all of it.

As for the ideal candidate, a lot of what I’ve already shared applies. For artists, we’re looking for those bringing something deeply personal and authentic to who they are. That doesn’t mean it has to be emotional or serious—it can be irreverent, outrageous, or anything else that reflects their true selves. It’s about creating something unique and having a vision bigger than just a hit song.

The artists we’re excited about are those who want to build a world, a community, and a fandom around their music—people who want their audience to feel something meaningful. For songwriters and producers, it’s similar. I want to see a clear identity: These are the artists I want to work with, and this is why. Here’s how I’m different. What turns me off is when someone says, “I want to have Julia Michaels’ or Lauv’s career.” We already have Julia Michaels and Lauv. Tell me something unique—like, “I want to be like John Belian meets Steve Jobs.” That makes me curious.

We’re looking for creatives with a distinct vision—someone who’s saying, “This is the world I want to conquer, and here’s how I’m doing it differently.” To me, it’s not just about having a hit song. A hit is great, but it’s fleeting. What really matters is building something lasting—a brand, a story, a community. A career. For songwriters and producers, it’s also about self-awareness. Know your strengths and weaknesses. Be open to collaboration and learning from others. That vulnerability can lead to creating your best work.

If you’re a successful artist with a catalog you want to sell, we prioritize amazing songwriting and passion above all. If I love the music, I’m interested. That’s led us to deals with incredible talent like Christopher Cross, the Go-Go’s, Mark Morrison, Mozella (Wrecking Ball), and more. These are people whose work I’m proud to put my name on. So, whether you’re an artist, songwriter, or producer—or someone with a catalog looking for the right home—if it’s something we’re passionate about, we’re interested.

Michael: You’ve got a lot to be excited about.

Evan: Thanks.

Michael: Evan, thanks again for taking the time. As always, we’ll include all the links in the show notes for easy access. Looking forward to catching up again soon.

Evan: Thanks, Michael. Really appreciate it.

Michael: YEAAAH!