 I know I can sell out $5,000 but I'm gonna go do $3,000 because I know the $3,000 is gonna sell out so it's gonna look good for me and the venue. The $2,000 people that could have got in that can't gonna be anxious about getting to the next one and make sure they cap when the next ticket come around and I also can still use this opportunity to build a good relationship with the venue and the people that work the venue and the promoters in the city and things like that so when I come back around my overall experience from promotion to performance is gonna be even better because I already built the foundation and work to make sure the next one is great. Now I got the headlines pretty quick. I could have played bigger venues than I was playing at the start of my career but Howard said no, you have to go out and play second on the bill to great artists like Leon Russell and Derek and the Dominoes in areas where you're not so popular and you have to get the experience of playing to another audience that isn't your audience. Also, when you're in places like New York and Los Angeles and you can sell out big venues we're gonna put you in smaller venues and create a ticket craziness so you sell out straight away and know we're gonna take it. That means the next time you come around you're gonna sell out a bigger venue. If you're good and you're building your career just take it in stages and then when you do play big venues you will really relish it and you'll be ready for it. Playing somewhere like that and you're not ready is a disaster waiting to happen. I've been around for a long time 50 years and I can tell you that's the truth. Just take it easy, know what you can do and then build up to playing something special but don't do it straight away. Obviously, a lot of game and what he just said, key term to me is just patience, right? Being willing to go the steps versus just hopping up to something that just because you can do it because you'd rather do it a lot of times than just do it once. Yeah, one big time. One big time. It sounds like whoever he was giving him that game was seasoned. I don't know what those people are called but seasoned I guess talent development even a lot of advice right, hey, let's not make you the headliner. Let's put you second to some acts because you need to one get exposed to the audience. It's not your audience and two, you need to learn how to win over a crowd that isn't your crowd. You know what I'm saying? Things that like, you know, that's like really good advice in the show world, you know? Because to his point, say, hey, I could feed my ego and go straight for my crowd and kill it. But these skills I'll learn from putting my 70s position going to make me a give me longevity because, you know, anybody can perform in a crowd full of their own fans. Everybody can't perform in front of people that don't know them. You know what I'm saying? Any artist now that does like showcases and things, you know, you know how hard it is to perform in front of a room with people that aren't there for you. You know what I'm saying? Drake, it can't vlog no great example. Actually, yeah, exactly. It's a hard thing to do. So but it's a skill set. Like if you are an artist that's playing on being in this forever, you're always going to run into that wall. Right. Like, you're always going to hit the wall of like, hey, I'm performing for someone that doesn't know me because even like someone like, like, say, Drake, Drake hit it randomly going to count vlog now. He didn't expect that. But then I even think about like, every time my artist pops up pops. The first thing I do is take him to like Jay Leno or some night show. You think the people on Jay Leno are listening to go really on a regular basis? No, she got to walk in this building and win over this crowd of people that probably don't listen to her on a regular basis. So even like, like the bigger you get or the longer you stay in this, you always going to hit a situation as an artist where you're performing for people that don't know who you are. It's going to happen one way or another. So I think it's a valuable skill set to learn. So yeah, man, he was spitting on this man. The demand part, I think it's crazy too, because it sounds like he's saying like, hey, I know I can sell out 5,000, but let's go up probably more than that. I feel like it's disrespectful numbers to him. You know what I'm saying? I can sell out. I know I can sell out 5,000, but I'm going to go do 3,000 because I know the 3,000 is going to sell out. So it's going to look good for me and my and the venue. The 2,000 people that could have got in that can't going to be anxious about and get into the next one and make sure they catch when the next ticket come around. And I also can still use this opportunity to build a good relationship with the venue and the people that work to venue and the promoters in the city and things like that. So when I come back around, my overall experience from promotion to performance is going to be even better because I already built the foundation to work to make sure the next one is great. So some artists and managers are just waiting for lucky moments when the ones who are killing it have systems to consistently take artists to another level over and over again. And if you want to see what that looks like, we just did a collab where we not only show the system that we use that's resulted in Billboard hit some of the biggest viral moments on TikTok, Instagram and YouTube. But also we got J.R. McKee to break down how he took an artist from zero to one of the biggest hit songs of 2022 and getting a Grammy in January of 2023. This is recent stuff, not old tactics. If you want to check it out, go to www.brandmannetwork.com slash Grammy. Don't forget the www or it won't work because J.R. gets into the details of looking at the data, the decisions that got made, how much content got created and how they adjusted the content over time for different parts of the campaign. This is real behind the curtains type of stuff. So again, go to www.brandmannetwork.com slash Grammy. If you want to check this out and apply it to yourself. Back to the video. Right, so now that $2,000 people that couldn't get in are going to be down to pay a higher ticket price because they couldn't get into the last one and the experience is better. Crazy. I think that's exactly it. That's exactly it. Because a lot of people are prone to try to get as much money as they can in the short term, but leaving some money on the table, leaving some of that brand equity, allowing that energy to build up is a long term play that starts to train your fan base on, hey man, when I come to town, it ain't nothing to play with. People knew when Beyonce tickets went on, all these things about to go. Like the one they knew they were gonna be expensive and they knew that even though when they found out how expensive they were, they still knew that them things were gonna sell out. You just know in your head. And at some point there might be moments where it's not necessarily true at all selling as fast as you think, but the psychology is already built. Yeah. So establishing that type of behavior that when I say that they're scarcity, it really is scarcity. And now having people experience not being able to get in and even sharing those stories of people not being able to get in low key on the back end. That's what your PR team or your management team might be doing. Then puts out that word when I come to town. Get your shit together. Get your shit together. Period, all right? So now I love all of this. I love all of this. And it goes back to that conversation of people who do want to go the traditional route and go for the big dream and visibility. That, hey, yeah, if you want to be that, you are going to have to be able to perform in front of different crowds. And like you can't get stuck in this circle and cycle of just playing to the crowd that loves you. Yeah, man. It's dangerous. It stunts your growth. And like if you are growing as an artist, it's an unavoidable situation being in front of people that don't know you. So it's, you know, why not try to learn the skill as fast as you can? Because it's the same muscle, man. Like trying to figure out how to win over a crowd of 10 people that didn't come to this showcase for you. The exact same muscle. It takes to win over a crowd of 2,000 people when you open up for a bigger artist in the future. You know what I'm saying? Like exact same muscle, bigger people. So, yeah, man. I think that's an underrated, like, I don't know. I think performing skills in general are underrated. Like, you know, we always talk about like music development and like overall town development. I feel like in a different world, man, I should have been a performance talent developer, man. Because I'd be seeing the holes in motherfucking performance strategy, bro. Like, and I was like, I could get you so right, bro. But you're not gonna pay me enough for it. But I could do it, you know what I'm saying? But yeah, I would definitely put down the list, bro. Like you said, like, yo, like, let's create long-term demand, which is a long-term play that you gotta believe in yourself for. Because like you said, like, if I feel like I ain't gonna be here next year, no, I'm capping right now. If I feel like I'm gonna be here in the next five years plus, then you're doing yourself a great service. You know, like you're really just helping future you be a lot better. And then, yeah, like we already said, like you can never go wrong with learning how to win over some strangers. You know, that's your whole, that's your whole job as an artist. Yeah. Yeah.