Michael Walker: All right. I'm excited to be here today with my new friend, Ryan Star.

Ryan is the founder of Stationhead. It's a platform that revolutionized radio so that it could deepen artist-fan connections. Drawing from his experience as a successful recording artist, he's a Brooklyn-based innovator inspired by his journey as a rock frontman with chart-topping hits and a global fan base.

He realized there's a need for more authentic connection and engagement in traditional radio, so he created a platform called Stationhead. Stationhead empowers artists to connect with their true fans, and it's a cutting-edge tool that allows you to have more personalized, meaningful interactions.

I'm excited to connect with him today and talk a little bit more about artists, especially indie artists nowadays, when there's a sea of noise and everyone's trying to figure out—how do we cut through the noise? How can artists actually connect in a more authentic way with their biggest fans and build a stronger relationship?

Ryan, thank you so much for taking the time to be here today.

Ryan Star: Thank you.

Michael: Absolutely. So yeah, maybe to kick things off, could you share just a brief introduction to starting Stationhead and what was the main problem that you were looking to solve?

Ryan: Yeah. Hearing the intro and the bio, I'm like, that's pretty fun. But I guess that question wasn't answered yet.

So for me, like you mentioned, I was out there properly as a recording artist. I had some success, had some fans—luckily enough to have fans. And, you know, I wasn’t at the Bieber level, right? But I was making enough to be an adult in the world playing music.

What I really found—like so many other artists now find—is that knowing my fans, knowing my audience, and knowing my customers, or whatever you'd call them in a business sense, was still the most important thing. It was always about the fans.

In a world of vanity, you forget that.

When I think back to the problem I was solving, there was this massive disintermediation between me and the audience because I was the product of some massive marketing machine. And maybe nobody is now, right? But at least at the time, there was still a machine happening to pump out the stars, and everyone knows what's going on with the stars of the world.

I'd find myself at the merch booth, and some household names next to me—who I'd be on tour with—would be like, "Oh, poor Ryan's got to go hustle his fans and sell stuff to them." And, you know, they were half right. I had to do that. I had to pay for the tour.

But what I learned while doing that was that there was this loneliness created on the internet when music came out. When music and the internet came together, it was far from the technological revelation that gaming went through—where it became live broadcasts, communities, in-app purchases, Fortnite skins, and this whole evolution.

Music, on the other hand, was just fighting the technology and suing it. It was really just war and battle, and then everyone was on their own trying to connect through Twitter or whatever it was. But no one was really purpose-building for that fan-artist relationship in a way that would bring value to everybody.

Not to get too heady, but that was the problem being solved—this relationship I had with my best fans while still being "rock starry." Not totally having to be like everyone was before. The relationship was always there, people needed each other, but no one built that.

And essentially, that's what led us to start around the music. The content should be the music. The experience should be the music—not me having to go on camera and tell you where I'm vacationing or take a picture of my breakfast in Mogador in Brooklyn, right?

Michael: About like a TikTok-style dance?

Ryan: Yeah. And some people are brilliant at that. And it's nothing to take away from these modern performance artists that we call creators. They're beautiful. But often, you'll hear someone like Halsey just say, "Really? This is what I have to do now?"

And just a few days ago, we were lucky enough to see her tweet. She said, "Stationhead, to be honest, is genius." Because again, it's about the music, and it's about the fans first. And if you're an artist, we know that really is the core of what we're all trying to get back to—so we can celebrate the music.

Michael: Cool, man.

Ryan: That was, I guess, the problem—in a long-winded answer.

Michael: That wasn't long-winded at all. That's great.

And funny connection there—Halsey's manager was roommates with the lead singer in my band growing up. So for about 10 years, we toured, and he lived in California, in LA. He is good friends and was roommates with her manager.

Ryan: What band?

Michael: We were called Paradise Fears.

Ryan: Cool.

Michael: Did you ask where we were based?

We grew up in South Dakota, and then we basically—it's a whole story. We’re not here to interview me, but basically, we eventually were able to tour with some bands like All Time Low.

We were very emo, pop punk, pop rock. But we had toured with her manager's former band at one point, and then he went on to become Halsey’s manager. So that’s how the connection was formed.

But anyways, yeah, I mean, Halsey is extremely talented, so her saying that about the platform is very cool.

Ryan: That’s cool. I say that because she’s famously an outspoken artist against the current norms.

But you're way cooler than me knowing the manager. I just know a friend of my friend grew up with the kid who was her baby daddy. So there. Let's go. I may or may not know Kevin Bacon.

Michael: That’s it. Okay, we’re adding this now—until we get Kevin Bacon on the podcast. The quest for Bacon has begun.

All right, cool. So it sounds like you noticed that there’s this disconnect between artists and their fans. And all these other industries have really made full use of the internet and the ability to connect together and actually form these communities.

But music was something that kind of fell behind in terms of actually being able to build those relationships.

So I’m curious—Stationhead, for someone who isn’t familiar yet with the platform, could you share a little bit about how it’s built and specifically how it solves that challenge of the disconnect?

Ryan: Well, I can start by telling you kind of the magic moment the company had when it revealed what it was to us. Because at first, you mentioned in the intro about democratizing radio, and this original sentiment to do that and modernize this radio idea.

Since we found what we are building, we really don’t even use that word anymore, right? Like a lot of founders you speak to, there's this moment where everything you've built takes a different direction than you thought you were headed in.

For us, that was this awesome, fateful day when one of the biggest fan armies found a platform called Stationhead. They were already doing something similar but across different platforms—on Twitter, listening to music, talking about the new BTS release. "Are you listening?" "Michael’s listening." "Ryan, you listening?" "Yeah, I’m listening. What’s up?" It was an asynchronous experience, using multiple platforms to do the same thing. Then they said, "Hey, over at Stationhead, we can just do this all together in one place."

It was kind of like Twitch—if Twitch is the video game, for us, the fire pit was music. And they all came to Stationhead to do it there. At that moment, we realized, whoa, this is a platform to mobilize fandoms around the world and bring them into one place, listening as a community to new music together.

Typically, in the digital world, listening is a fairly lonely experience. I’m in my room, listening alone, maybe chatting on another platform with people also listening separately. Stationhead became the go-to listening party platform. And these fan-led parties were so loud, they would trend on the internet and make so much noise that artists started paying attention.

This all happened without the artist. And then suddenly, what we spent three years trying to figure out—"Oh, if we could only get Cardi B to go on Stationhead, she’d be like our Joe Rogan"—well, we didn’t have the means to bring in an influencer like that. But just by building a really good product and creating for the fans, we attracted artists organically, the old tried-and-true way.

And then one night, Cardi B, coming home from the Grammys, getting tacos in her SUV, saw on Twitter that her fans were having a party on Stationhead for her music. So she hopped on and said, "What’s up?"

That was a really cool moment. It was the lightbulb moment for me—like a sculptor realizing what they’re really building. Her fans said, "Hey, Cardi, welcome to our channel." Even though it was her music playing, they were the creators of the space. It was a really beautiful moment.

Since then, we’ve had 400 of the top artists on the planet hang out on Stationhead—some of them multiple times—just to connect with their fans, who are always here supporting their music and building a real community.

Michael: Wow. That’s cool, man.

That reminded me of a video I saw recently. It was funny because, out of context, it was Ludacris, but my YouTube recommendations have been showing me videos lately of Steve Jobs when he was young—before everything happened, before Apple blew up. Seeing those interviews in context is really interesting.

Specifically, what you just shared made me think of one video where Bill Gates was on a talk show—maybe it was David Letterman—and he was talking about the internet.

The interview didn’t age well. Letterman asked, "What can you actually do on the internet?" And Bill Gates was like, "Well, you can do all sorts of stuff, but for example, you could listen to a sports game."

And Letterman just goes, "Bill... have you ever heard of the radio?" And the whole crowd laughs. The clear insinuation was, "This is overhyped, it’s not a big deal."

You mentioned earlier that radio was a comparison you made early on. I’m curious—if someone were to ask, "How is this actually different?" what would you say are the main differentiators? What makes Stationhead unique and significantly different from a radio channel?

Ryan: And a great observation. It reminds me of... and I don't want to sit here posing as the visionary, like Steve Jobs might've been, or Bill Gates on one of those shows, because we're all victims of it. I remember my friend, I remember when Pro Tools was coming out.

I was lucky enough to come up in the analog world and kind of surf my career through the digital times and make sense of all of this now. But I remember him saying, "The sounds are going to be so good on the keyboard and the computer." And I felt like Zoolander. I was like, "In the computer? The sounds are in the computer?" Like, you need physical air hitting a drum.

I spent a week trying to get a sound like the [00:13:00] Deftones' drum set, you know? And then, oh, now there's Splice. So it's like, it's just so hard to see things and jump, which humbled me greatly. Actually, that particular experience really humbled me to really believe and be an optimist about what's potentially out there, which is coming at a cool time with AI, of course.

But to answer your question and to bridge that analog and digital gap, I think my time on the road—like you would know—and that interaction between fans and understanding truly... You know, people use the word "superfan" now like it's a trendy word in the music industry, which is a little concerning.

When these CEOs of big publicly traded companies talk about superfans, they mean more money to be had per head now that streaming is mature, right? Everyone's paying nine bucks a month, like, "Well, what about the people that were spending 200 bucks a month in the '90s? Where are those people?"

We just look at them [00:14:00] differently. It was more like, you know, I think by doing those parking lot shows for kids that missed the show or couldn't get in, or driving through the night and doing the radio thing in the morning while kids were outside waiting to sign... We learned this thing that just never made the jump to music and the internet.

The different problems were solved, and those problems being solved—like water coming out, like music coming out of your speaker like water from the tap—was solved. It's a beautiful thing, all these platforms that were created. But again, no one was thinking about the loneliness it was creating and the desire to be together.

We see that every day on these massive tours now post-COVID that are launching and culturally, literally, and physically shaking the world sometimes. They're out there, and they want to be together.

And there's no reason why that shouldn't be happening on a platform purpose-built for mobilizing these fandoms to be together online as well. So I look more to the physical world of what [00:15:00] hasn't made the jump to digital, more than reinventing radio. Because like I said, we're kind of far from that idea. I think there are other platforms that do that.

There's no shortage of people being able to go on and broadcast somewhere, like we're doing right now.

Michael: That totally makes sense. And it sounds like the main core of the platform that you've built and what makes it unique is really about the community part of it and the connection.

And you spoke into this concept of loneliness. It's almost like, in some ways, the internet exists, so we're more connected than ever, but in many ways, we're more disconnected than ever. We feel more isolated, even though we have access to the world's information and social media.

And with radio, I tend to think of a one-to-many situation where there's one source and many people receiving it, but there's no interaction. You're not putting things back. It doesn't necessarily have that same community [00:16:00] benefit.

Whereas with something like what you've built, the community itself is a core part of the platform.

Maybe you could share a few of the features or ideas you've been most impressed by, or things you've seen people really resonating with as it relates to the community features?

Ryan: Yeah, I think you just nailed something that makes me think... When you consider Stationhead, I'd say consider it two things.

First, consider it more of a grassroots political campaign. Not to get political here, but when there's a place in Brooklyn where kids supporting their politician are working, putting posters up, making calls, putting stickers on the telephone...

And then in comes, like, a Hillary Clinton, and she's taking pictures, brings bagels, says, "What's up?" Now they're being seen, and their person's there. They feel really close to it. They have that moment.

And then she goes out to do her thing again—the thing that they [00:17:00] support and appreciate. And they keep working, they keep going, and they remain a community, right?

That is what Stationhead feels more like and what we build toward, versus someone putting up content, we all consume it together, and then we disperse.

It's more of a grassroots campaign and a mobilization of people to support their artist. You probably remember this feeling of being on the road—those were called street teams back in the day.

And then, the other way to frame where we're headed and what we see as success—since the beginnings of Stationhead—is to start looking at it more like a game.

And I say "game" not in the sense of gamification of people's habits, not that bad word people use when building technology, but the fun part. Things should be fun. It's fun going to a concert.

When I was younger, it might've been, "Prove you're a real fan. I was into Nirvana first. Look at how old my shirt is—it's ripped." There were all these ways of proving your fandom and connecting with people.

Now on Stationhead, it's, "Show me your badge. Show me your all-access badge." How do you get an all-access badge? Man, you listen seven days straight, you unlock this badge that you earned. "I was at that listening party. I shared this out."

You start unlocking things, becoming a fan, being a fan—it starts to become this experience, more like the feeling you get playing Roblox or Fortnite, in a fun way, in a never-ending experience.

And as an artist, you start saying, "Where are my best fans?" I know who the loudest ones are—there’s no shortage of comments online.

But man, look at this one: "I've been listening since four years ago, every day clocks in, supports me, bought these three shirts, the bundle, shared it out, helped me trend on Twitter."

Now it's a two-way thing too—I'm supporting, I'm having fun, it's a game, and now my artist can recognize me and support me, shout me out.

All this starts becoming really fun. Billie Eilish was on with Finneas a few nights ago, and she's shouting out her fans for buying her MP3, and the fireworks are going off like you just bought a Robinhood stock.

She's like, "Yo, thanks, Michael. Love you." And she's telling them stories about making the record.

To me, it's about fun, it's about togetherness. And that's what we're after.

Michael: Super cool. I mean, that's awesome too—it sounds like the platform has evolved in ways you didn't even realize coming into it.

It kind of gave birth to this greater movement. And yeah, a lot of it has come from communities forming around each other, and then the artists coming in.

Ryan: You're hitting it now. And it's part of why I'm excited to talk about it.

We have found that, and I think it's new to others hearing about Stationhead, to think of us as something when we're headed somewhere else.

But everything you just said is right. And I would remind you that, in the end, you want artists to be like, "Where are my fans?"

I just opened my Wrapped for all the platforms—Spotify, Apple, Amazon—and I'm looking at it, and I'm just like, "Oh, who are these people?"

I see the numbers. I get it. But who are they? Where are they?

And that, to me, is the thing that I think we do really, really well.

Michael: Absolutely. Yeah. I mean, there's probably an even better analogy than the orange juice.

Ryan: I like it.

Michael: Well, in that, there's probably stuff that's really, really good fresh, but then you can repurpose it, and it could last for months or years if you do a really good job. It's not the same as the original stuff, but it's still nice to have videos and these different things as well. It's just a bit different.

I wasn't actually at high school—we just started touring. So I never went to college, but philosophy would have been a good one. I'm definitely interested in this kind of stuff.

That's cool, man. I'd love to hear where you think things are headed right now. You talked about how this has really been a self-discovery process for you and for the platform, and seeing the life that it's taken.

I'm curious—this year and the next five to ten years, obviously, at the time of recording this, there's a huge revolution happening with generative music and AI, and just AI in general.

Yeah, I'm curious how a platform like Stationhead, in solving that need for connectedness, evolves in the next five years.

Ryan: Having a place where you know your best fans are at all moments, where you can celebrate them and they can support you, is a big mission—a five-year mission. I think we go way beyond the simple idea of a listening party and listening together. I think that was our first step, and what will slowly become just a piece of the larger community and the larger offering as a platform.

Michael: Cool. So it sounds like what you're saying is that, at its core, the community building and the listening parties are a part of what has made the platform special. But you can see it expanding from there as well.

Ryan: In the big picture, I'd love it if your digital music identity was living on Stationhead. Our job would be to build that to be real. And then all of the other things we've talked about will come from that.

Michael: Cool. One thing that comes to mind when I think about the future of communities and digital communities, especially, is this idea that can sometimes come across as dystopian. In movies and popular media, it's almost never a good thing when we have super powerful AI or super powerful technology. In movies, it's always like Wall-E, where we're just totally checked out.

But it certainly seems like digital environments and things like VR are right on the precipice of achieving a major breakthrough. You see the Vision Pro starting to come out and Meta Orion just got announced.

So it seems like something like Stationhead, if you build it to be this foundation and this identity, could be part of the next frontier for building communities online—where there are live connection points that are more immersive. Instead of just a screen, we're actually there, and you can go to the community’s headquarters, walk around, and actually be with each other.

Ryan: Totally. A lot of people try to turn things on overnight and say, "Okay, introducing the metaverse." I think NFTs tried this, and these metaverse worlds, but we all heard the headlines loud and clear: without utility, it doesn’t really stick.

I'm sure there are going to be multiple things putting together a lot of puzzle pieces, and a lot of different companies coming together. I guess we're kind of in the metaverse now, but it wasn’t some big overnight thing like the Vision Pro or something where they told us, "This is the metaverse." I don’t think it’s going to happen that way.

Because of that belief of mine, I very much believe we are one of those pieces. And I believe that if you take the experiences happening right now—Olivia Rodrigo, Sabrina Carpenter, and Rosé just had listening parties with their communities in the last few days—then all of a sudden, they're in their own worlds.

When I said your digital identity would exist here, I think those digital identities, those badges of honor, or the t-shirts you bought at that listening party, are going to be things you can take with you into that world.

At Stationhead, we like to believe that we are the digital venue. Every day, we fill up multiple Madison Square Gardens—pumping them out daily. So it makes sense for us to be a part of that next thing coming. And I think you'd be spot on to think that we would be part of that.

Michael: So cool.

Ryan, one thing I wanted to ask you about is related to the specific community that's going to be listening and watching this—which is mainly independent artists. Artists who are just getting started and looking to build their initial fan base.

I think it's absolutely incredible that the wider music industry, and especially some of these established artists, are starting to come to the platform. That creates a community for everyone to come together. Clearly, there's a need for it.

I'm sure you also have a lot of experience working with people who aren’t necessarily Nicki Minaj or Justin Bieber, but who are getting started, maybe earlier in their careers or independent. And they have the exact same need—they’re looking to connect with their community and build their audience and relationships.

I'm curious what your advice would be for someone listening or watching right now who has big goals and ambitions to build their music and their community but is still early in the process.

How would you recommend they use a platform like Stationhead to help them build those relationships?

Ryan: Cool. Well, first, reminding me of the audience here, I would take a moment to acknowledge the great mountain that they're climbing and we're all climbing. I come from that world—I can't stress it enough. I'm sitting here talking about big stars and now millions of users on our platform and things like that.

But this happened because I was sitting backstage at a concert. I was playing a show at the Bowery Ballroom in New York City, and my friend came to see me because he thought I was some rich rock star he heard on the radio. I wouldn't have to tell your audience here that it wasn’t like that. It's not like that these days. It sounds great, and I knew he thought he'd come to party, but I told him, "I don't know where these fans are or how to reach them."

I had just gone to Texas and promoted the show on Facebook for three months, only to come home and read the posts of the pictures I put out. People were saying, "I've been waiting four years to see you in Texas. I didn’t even know you were coming." And that just broke my heart—to think I did all that, only to not get through to these people.

So I started this because I was very much on that journey and have a lot of empathy but also a lot of excitement right now for those newer on the journey. When I came up, you really had to make some compromises sometimes to get past what were called gatekeepers. You had to do things that made you question who you were and convince yourself, "I'll do this just to get that." I'm sure you've been there as well—many band meetings, fighting artistry versus the business.

Now we live in a world where you don’t have to go on tour—you can pop a video up and be overnight. I get it. But I think the tried and true of being true to yourself still holds. You see these artists now, after a few records, going back to the old-school idea that it takes time for the good things to happen. And I do believe that's really true.

This connects to Stationhead very quickly. All of these moments of success—everyone has their little highlight reel that they pump out and tell people about—there’s so much energy in that. When you have a spike, when something hooks, and you gain new fans, grab those fans. Grab each one.

These moments will come and go. You never think about it, but there was a time when you wouldn't think Justin Timberlake wouldn't be on top of the world. You'd think there'd never be a day when he wouldn’t be huge. Maybe Taylor Swift is the exception, but there are always ebbs and flows. That’s just how it works.

When you have even the smallest blip of success, grab that and come right back to what will consistently make you successful—something you can maintain. Those blips are these magical, lucky things that you can’t replicate. It’d be like Justin Bieber trying to tell you how to become a rock star. He’d say, "Oh, you go on YouTube, put a video up, and Usher finds you," and then some kid named Scooter mortgages his house. These successes are usually once-in-a-lifetime, unique to that person’s journey.

So when someone tells you what worked for them, their advice might not be as valuable as hearing about their failures—what didn’t work for them.

Know that successes will come, and when they do, grab the tried and true. Make a fan for life. That’s what will pay off. Just like those TikToks telling you how to invest your money slowly with compound interest over time instead of trying to get rich quick—the same thing applies here.

If you’re in it to be a pop star overnight, great—go for it. And there are ways to do that. Sometimes it works. But if you really want to do this, grab each fan, know where they are, be part of their story, and let them be part of yours.

That’s what Stationhead is.

In full transparency, the reason I talk about these big artists is that we got really lucky. The thing we created technologically really spoke to these massive global platforms. Because they’re so loud on Twitter, and we trend on Twitter, the big stars found out about it naturally.

It wasn’t really cutting through the noise for the starter artists. I built this for myself and the kind of artist I was. It wouldn’t have worked for us great right now. That being said—what I’m trying to say is—we’re not a discovery platform.

You're not going to go on Stationhead like you would TikTok and just find your audience overnight. And I say "yet" because we have bigger plans for where we’re headed. But right now, you’re not going to go on Stationhead and suddenly have thousands of fans just find you.

What you can do is bring the ten fans you have and start creating a really meaningful experience around the music. Play some songs from Spotify or Apple, talk to your audience, meet them back next week, and tell some friends—grow that.

With what we’re building, and what you’re building, you’ll always know where these fans are. I’ve seen artists come in with no streams and, a few weeks later, show me their Spotify chart with 10,000 streams just because they put their audience in the right spot.

They didn’t value the likes on Instagram as much as they valued engagement on Stationhead. So if you’re not fixated on numbers, and you can stomach playing a small room in South Dakota, then hop on and start building your presence on Stationhead. It’ll pay off over time.

Michael: Awesome. Yep.

So it sounds like what you're saying is that the fundamental thing is being true to yourself and making music that authentically expresses who you are. That’s an important starting point. And to say there’s a one-size-fits-all approach isn't going to work because everyone's journeys are unique and different.

Justin Bieber has his own story, and you can't necessarily just go do the exact same thing as Justin Bieber. But if you keep taking steps and focus on building meaningful connections with fans during the ups and downs, you'll find your own path.

And with a platform like Stationhead, regardless of where you're at—whether you have ten fans or a hundred fans—you can start building that community and connection. That’ll help you continue growing over time.

Ryan: It was cool. The original thing was, again, the station that every user logs in with their streaming platform, right? So again, when 10 people are listening to your station, if we played a song right now, we generate 10 streams instantly. So if you are on tour opening for a headliner and they got some juice, have them go on and play your song.

We had Cardi B play some unsigned artists, and in 30 seconds, the kid had 20,000 streams because she played it in front of her whole audience that was listening to her.

But it goes the other way too. All of these streams count as premium streams, which is really cool. Just to be really specific to the original value prop of how we built this—for artists that might be looking for that too.

Michael: That's awesome. So it sounds like when artists hook up their accounts or when fans hook up their accounts, it actually streams on the platform. So not only are you bringing people together and building that relationship, but it's also benefiting the actual platforms they're streaming on as well.

Ryan: Yeah. The idea was not a zero-sum game. It was like, bring your own music. Music is soft. Everyone's got it. It's ubiquitous. Just bring that and bring your fans.

You got a hundred fans listening, you play your song a few times, it's got a bunch of streams at night in the right spot. And you had some fun.

Michael: Awesome.

Well, Ryan, man, it's been great connecting. One of the things that I feel most grateful for with this platform is being able to hear different stories of success. Hearing your story and your journey, about what you've discovered, seeing it take on a life of its own, and building something bigger than yourself—it's exactly what you're describing.

No one's stories are exactly the same, but there are patterns, things people have in common, and different ways to have a finger on the pulse. I'm always grateful to have conversations like this and get a wider perspective of what's happening right now, especially as it relates to what you described—how, in today's day and age, do you connect in an authentic way with other humans on the internet?

So thank you for the platform that you've built. I'm really excited. I'm personally going to hop on. To be totally honest, I did a little bit of research beforehand, checked it out, but I'm really excited to go all in on Stationhead and start attending some different stations and exploring it.

And I think there's also a lot of opportunity to explore related to what we're doing with Modern Musician and StreetTeam. We actually have a platform that we're early on called StreetTeam right now. You mentioned StreetTeam earlier, and it has the same values, the same heart as what you're describing. So I think there's a lot of opportunity for integrations there.

Ryan: Yeah, go get it. Even this platform in a live way—you can play some songs on it too, obviously, because it's all authenticated. It'll be really fun. I'll tune in for sure, so we could do it there.

Michael: Awesome. Well, hey, Ryan, thank you again for taking the time to be here today.

For anyone listening or watching right now who wants to check out the platform, what's the best place for them to go to dive deeper?

Ryan: Yeah, just go to Stationhead.com. That'll get you to the right place. Download the app from there, and follow us to feel the heartbeat of what's happening.

You can get a feel for it on X or Instagram or something like that. But yeah, Stationhead.com.

And since we're in a sea of artists—if there are any great mixers or producers out there—I'm finally trying to lay down some tracks. As you know, Ryan Star is my artist name. You can check out my career there. But it's hard for me to find the time with all these Zoom calls to finish a track.

So hit me up—Ryan Star—if you guys want to collaborate too.

Michael: Awesome. As always, we'll put all the links in the show notes for easy access. Ryan, thanks again for taking the time to be on the podcast today.

Ryan: I appreciate it. You're great at what you do, man. I'm genuinely a fan, so thank you.

Michael: Oh, thanks, man. Appreciate you being a part of it.

Ryan: Cool.

Michael: YEAAAH!