 Hey, what's up, everybody? It's Brain Man, Sean. And today I have a special guest to introduce you to that is Harry Soknik from Daily Playlist. He's the product lead at Daily Playlist. And if you don't know about Daily Playlist, you can think about it like this. There's a lot of Playlist submission websites out there. But Daily Playlist is one of the most credible. And they have a lot more that you can benefit from Daily Playlist, from other than just getting on Playlist. So we'll talk about that. But I want to start here. Harry, if you could just first, thanks for being on here. But if you could first give a general idea of why Daily Playlist is why do you think it's one of the best Playlist sites out there? Obviously with the bias out there. I thought he was dropping me in straight away, mate. But no, cool. So Daily Playlist, I think why Daily Playlist is one of the most credible and best submission sites out there is our viewpoint on how we built the product. We've really come from a sort of like two pronged angle here. We've been, our experience, like as a team, is in curation, is being musicians, is a mix between self-releasing, is working with labels, also working with management. So we've had such a whole view of what was needed. And with Daily Playlist, we feel like what we've achieved is such a robust free layer for artists because we understand the play listing space, especially for, I guess, the early stage artists, the middle level artists, can be very hit and miss. You know, you can go onto some other sites and spend what up to $200 and not really get much in return. So for us having such a robust free tier of like $25 free submissions to Playlist a week really is what we pride ourselves on in providing that opportunity for artists of all levels. But also what we pride ourselves on is the solutions we provide to the curators as well. We like to think we make their lives a lot easier through our submission review flow. We help them organize their submissions, and we also help them dig a little bit deeper, get below the sort of initial song pitching to understand the artist, to really find the music that suits their playlist and that they're looking for. And not only do we offer that, we offer tools to help grow their profiles, not just in terms of followers and engagement, but also in terms of branding. And yeah, we also pride ourselves on the community we have on both the curator and the artist side in that we have like networking opportunities on our site for both the artist to receive feedback on their music and also for curators to connect with other curators and really start building out their network for situations such as playlist trading, you know. So yeah, to sum it up, we pride ourselves basically on the whole approach that we've taken and the understanding and also providing the opportunities on many different levels. All right, so it sounds like there's a full ecosystem. You guys aren't like strictly transactional. You put more into what the artist gets out of it beyond just getting on a playlist. Same for the playlist side. I like how you, you know, even just talked about just the relationships between other playlisters. All right, I don't really know of anybody I think that has taken that full ecosystem. And I'm not, I don't know every single playlist, right? But this is a true statement, right? It's not just cause I'm talking to Harry. I really don't know anybody who's taking that full ecosystem type of approach. What inspired that? Just before we, there is another platform. I can't, I don't, I want to be honest, playlist club also offer a really good sort of full ecosystem experience. So shout out to them, you know. But what is, what was that? Sorry, the question, what inspired it? Yeah. So I think it, again, sort of taking it back to the understanding of being the curator, being in the curator issues ourselves and reviewing submissions, growing playlists and trying to build them in a way that you have genuine engagement, you know, being in that shoes, those shoes for the curator and just, yeah, sort of building a product for ourselves. And it's kind of selfish way to start off with. That definitely helps. And then again, from the artist side, like as the side hustle quote unquote, I work with like independent artists myself, managing acts and the whole, you know, talking to managers, labels, whoever it may be within the ecosystem. And it's especially talking to our community and listening to what they want, you know. So all of these different factors really inspire what daily playlist has now built to become and what it will also be in the future. You know, we've got a lot of exciting plans to expand beyond our current capabilities and further, so, yeah. Don't, don't. Now, you talk about, just to get a little bit deeper into you, right? And your background, you say, you know, you're managing artists on the side, but you were an artist at some point too, right? Yeah, so this is a wild back now. But so I started playing my backgrounds, if we take it like right back, I'm on about like till I was like 10 years old. I started playing drums. I'm from like a little town in the northeast of England and it was quite a small school and I was the only drummer in my like year. So from the age of 10, I was the only guy to call on for bands, basically. So from then, that's how my musical journey really started. And as I mentioned earlier, sort of working with many different projects, whether we're self-releasing, working with managers, working with labels. And then it all accumulated in the band that was sort of lasting, I guess, like full-time, which is sort of like, I'm a sucker for like Garage Rock, punk rock. So it was like a sort of like punk Garage Rock band. And yeah, we did a few tours of the UK, went across to Europe, also did some shows in Asia, worked with amazing supportive management, but we're most importantly self-releasing as well. So we were still very hands-on on the whole process, which at the time as well, I was studying a good degree in music business. Again, had amazing mentors at my university, who really, you know, I was being able to apply what I was learning in real time, which I think made a huge difference in how I viewed the industry and where my interest like really started to peak and making a transition from, I guess, musician onto the other side of the sort of spectrum and yeah, running out like primarily a submission platform. So with that being said, I wanna spend too much time on that side of things, but can you give me your logic breakdown of transitioning from a musician to business? And I asked, because there's a couple of general ways it might happen with people. One, there's, hey, I'm really bad at this, right? Just coming to a realization, and then say, but I wanna be around it and be in business. And then there's a, I start to get caught up in some of the business side. And whether I'm good or not, I might never realize I'm not good, but I just started to get so much traction on this business side, it was almost, it just started to happen, right? I caught a groove. And I'm sure there's some other routes, but what was your thought process that made the transition happen? So I think it was a bit of both, if I'm being honest, it's a bit of the realization of when, yeah, the realization of the people who are surrounding me, surrounding myself with an artist side. I, at the time I was living in Brighton, such an amazing, vibrant musical community, but these guys, they live, breathe, like dream about their instruments, dies, they do or die. And when I'm researched, start their research in blockchain technology and the music industry, and my guitarist is downstairs in our house, like start writing. That's when the sort of, as I maybe, maybe I'm better suited on the other side, and I should let the people who really want to play drums, for example, in my case, be the pioneers in that regard. So yeah, I think it was just a realization of where my interests started to lie. And yeah, I've always been a massively nerdy guy, which I think, I don't know about you, but I think fits in very well in like when you're looking like products, out of the bill, looking at new tech. So yeah, it kind of just became a more natural fit, I think over time. And like I said, the musicians who really live and breathe it, I think they have so much admiration for them, but I just kind of realized that wasn't, I wasn't sat there doing my paradiddles, you know? I sat there, yeah, like I was saying, researching. So that was the realization. Got you. Okay. Well, and what was that? What's that saying mean? I got to, you said something. Pradiddles. Yeah, what does that mean? So when you're drumming, you have to practice your strokes. So you got to practice the way that you hold the stick and also the way that you hit the drum, you know? There's like three different motions and when you got to sort of tap it, there's like a, like, I can't remember the specific moves. If there's a tap, I remember there's like an up stroke and a down stroke kind of thing, but a paradiddle is like when you use your right hand, so it's like right, left, right, right, left, right, left, left. I don't know if you can hear me tap into the desk at the same time, but it's one of the fundamentals of drumming. It's kind of like if you're a guitarist and you're practicing your scales. It's on that level of importance. And yeah, like I said, when I realized I wasn't doing that, I wasn't sat there with the metronome out, whereas all my peers were, I was like, maybe it's time to make the shift. Got you. Got you. Thanks for the, for the, for the, for the education. Oh, good. Oh, good, oh, good. Oh, man. So with that being said, you know, obviously you made that transition. I mean, daily playlist is really being formidable in the playlist space. And, you know, it's riddled with scams, bad stigmas of one, some validated, some invalidated. So I would love to know as somebody who's in it, right? Because of course, marketing, me as, who has a marketing agency, we, that's a part of what people request. And in many cases, we're very personally, very, very selective, right? We don't even market that as like a front-end service. Hey, we offer a playlisting or anything like that. So we're very selective on who we're even willing to do something like that with because of all of this stigma and et cetera. So I would love to know your thoughts on playlisting, like what it's gone through and then where it's going as somebody who's really in the trenches of playlisting. Cool. So I think to contextualize like where it's heading to be, I think is a good place to actually start because then I can bring it back. I think where it's heading, it's all about accuracy. It's all about honesty and being objective about the campaigns that you're running. The way, as we primarily work on Spotify, whenever I'm talking about streaming, just for context, I'll also be referring to Spotify. But the way that the Spotify algorithm works, what we all look up to, what we're all trying to beat every day. It's based off like genuine engagement is I guess a good way to encapsulate it. It's all about how, not just streams, but let's say it's all about like how you can, if you're constantly building upon last month. So let's say you're on like 800 monthly listeners from one month, then you have to go to 900 monthly listeners and playlisting is one way to like obviously achieve this. Also the accuracy in like a Spotify algorithm, they can detect for example, like body plays, they can detect like skip rates. All these different parts like come into play, especially about where the hot topics about playlisting at the moment because I know the stigmas around it are that it could be unhealthy, it could easily go wrong if you're running a campaign because you might get put into the wrong playlist. So I think there's a lot of pressure on the artist to do the due diligence at the moment. So for example, you've got to understand the genre of your song really inside and out, not just think what you think it is and what the genre you wrote the song. When you're writing, go through that process, you might let's say, you might intend to write a house track but by the time you're finished, it might come out as being like more in the realms of techno, but you're still in that idea of like as a house track. So you're gonna go into daily playlist, you're gonna go through all the house playlist and submit it to there. And then let's say it ends up on a house playlist and then gets skipped a lot because it's actually more techno, that's detrimental to the Spotify algorithm. And this is where the bad stigma, I think the main bad stigmas are like coming from is like how sensitive it can be when conducting these campaigns. Obviously there's also the stigmas around botting and yeah, mainly around botting and paola. From our ends, we don't engage in any playlist that comes on the daily playlist there, we can guarantee it's not bothered. Also when it comes to paola, there's something we do not engage in in the slightest. We don't ever advise people to engage in because botting and paola sort of come as a hand in hand sort of package. If anyone can guarantee you streams, most of the time it's too good to be true. So yeah, I think that's where playlisting is heading in that regard, it's about build on the curator side, it's about building a playlist that flows, that's well curated and that can bring genuine engagement. Whereas on the artist side, it's about being honest, it's about being objective and it's about taking your time and learning. That's what a lot of people don't tend to do. They usually go into our platform or a similar platform, purchase a load of credits and then all in one go, you know, like this playlist got a lot of followers, this playlist got a lot of followers and they spend it all. Whereas we always advise to take a sort of like learning approach, a testing approach, we, you get 25 free submissions on daily play this a week. Don't use all 25 in one go, you know, use like five, 10, like after vetting the playlist, listening through it, making sure it's an honest fit your track and then seeing what the responses are like, you know, the curator might give you feedback, like, oh, this isn't actually a fit generalize to my playlist. From then, you know, you'd have to sort of come back, reassess your, what you thought your track was and really take these learnings and these feedback seriously to have the most streamlined like campaign and the one that can really help you, I guess boost the algorithm in that regard and find fans. Okay. So that's, it's interesting the point you made about the artist being objective, right? Yeah. Like you said, not what you intend to create but what you actually created the end product. So do you find artists have trouble doing that still? Yeah, I think it's like in the nicest way possible. Yeah, I think it's like creativity is always such a, like a sensitive subjects, you know? So I think, and there's also not really too many ways to get this objective view that I was on about, you know, there's no like black and white, this is exactly this, but I think it's all about learning and doing your planning, the diligence and your research to find the best playlist out of best match rather than, you know, while saying about like reading the title and saying, okay, this sounds like it's going to be a fair. So I think, yeah, on the artist side, like one bit of advice is just take your time while doing these campaigns. It's going to be so much more beneficial and you'll also learn a lot about your music and where this fits in terms of like the genre of spectrums, you know, and also it can open doors in terms of insights as well, you know, could, you know, different fans, you know, you can be like, okay, sweet, I'm actually fitting into a lot of these playlists. Maybe I should start applying for gigs more in this direction, this genre direction than what I was doing before. So yeah, it's a very beneficial process. It's a lengthy process, but yeah, being objective and doing this research and doing two diligence really pays dividends in the end. Right, right. I can definitely see that like paying off after you do all the work, right? Now you have it, right? You don't have to do that research. You just stay in the bag and continue to create. And I hadn't thought about even thinking about how your gigs and the rest of your branding might change on what you get from the playlist feedback. That's dope. I mean, along those same lines, right, in terms of artist accountability, because I think these are really important subjects. You mentioned bought it playlist and not knowing being able to guarantee a specific number. So it's 2022, I don't like to date interviews or whatever, but like it is. And I feel like that message has been out so long yet I still have conversations, right, with artists, whether it's for me to work for them or they're asking for my advice on the decision they're making and many people still say, like, well, can you guarantee this or what's gonna be my return on ad spin or how much money am I gonna make back from getting on these playlists, right? There's still that mentality. And I get it that you say, hey, I wanna take this seriously and treat it like a business. And you've heard from all these other business conversations outside of music, right? That you should be looking at these types of metrics to make sure it's worth an investment. I get it, right? But that's things everybody pretty much acknowledges like the music industry is a little bit flipped. It's a little bit different, right? So I wanna ask you, why do you think, well, no, why can nobody guarantee an amount of streams from a playlisting standpoint? And then I wanna get a little bit more into just the music industry and how it works from your perspective. But why do they, can you not guarantee streams? I think the simple answer is because they fluctuate, you know? Like if you have real listeners on your playlists, like the process of like curating and building a brand and building out these playlists. So, you know, the way you get these listeners is you really put a comprehensive list that works together of amazing music and selections. However, you've gotta get these people coming back. Like every time you've got, you make an update, you know? There's not just like the one-time thing. They're returning customers on the curator side. So there's that human element that just doesn't make it like guaranteed in that sense. So someone says to you like, oh, we can guarantee over a 30 day period, 40,000 streams. And they're saying, I think the main thing around that like is, because there is data to support, you know, estimates and you look at your Spotify for artists and curators do have insights along these lines. But if they're like, okay, pay me $20. I can get you placed on a playlist that's gonna guarantee you this, not in the terms of like feedback or in terms of like a submission, but in terms of like pay for placement, which is Payola. This is when the red flags are waived and this is when like, okay, this is all basically a big sale scam. It's just not, it's just something you can't guarantee. And like when you start adding up the red flags, it's just, yeah, it's something that it becomes quite obvious what's legitimate and what you can avoid, you know? So, yeah, it's, yeah. To some, it's the human element of it mixed also with the other sort of supporting layers of how the submission process is done, for example, whether it's just paying straight up for replacement or paying for feedback from a curator or for a submission. So what do you say to the artist that says, how am I going to get my money back from this playlisting? I would say in terms of money, I think that's not just about playlisting. I think that's the state of, you know, streaming platforms and the royalty rates in general. I think there's a bigger issue at hand with regards to that, you know, it's, you know, realistically, unless you're able to drive like hundreds of thousands to millions of streams of playlisting campaign, which just to put into context is most likely not going to happen, really not going to happen. Yeah, I think putting into context like that, I think you're never going to necessarily make your money back like one for one or be in profit from a playlisting campaign. What playlisting campaigns are is obviously about like marketing and promotion and like finding new fans. And it's about having an objective is the way I like to look at it. So when you're going into a playlisting campaign, you can just look at streams as an objective. But what's the most sort of like, I guess, tangible thing is like seeing your Spotify followers going up because then that's getting the people within your ecosystem. So when you have your next release, if they start following you, they're going to come up on their release radar, you know, it's also to start to learn about like where your music works. It's all about the analytics and insights that are provided through these campaigns. So yeah, I wouldn't, it's an investment, obviously. And it's unfortunate that it doesn't tend to be like a one-to-one or like even a profitable return. But the insights you can gain from playlisting and the not kind of effect it can have, let's say you do a playlisting campaign, you then hit the right playlist that then sort of starts triggering a load of other playlist ads. You then finding new fans. You then get picked up by the spot of our algorithm. You then get added into the different playlist by Spotify. And then, you know, then you might get picked up by a manager or a label because you're in like the Fresh Finds, for example. I know many artist managers who are in that Fresh Finds like every week just scouting through. And I know many artists who've also been signed because of their songs being in Fresh Finds. So it's more, again, to sum it up, it's not about the, in my opinion, the sort of return in profits, it's about what you can get analytics-wise, insights-wise. And also if you do hit that golden like campaign, like taking the opportunities that sort of come that way and opening the doors that possibly wouldn't have been there if you hadn't conducted the campaign in the first place. Nice, nice. That's a great, great answer to that. It's way better than what I tell people. Like you tell people. Just as it makes, I really don't go far beyond the fact that like a one-to-one return early on when you're investing in your music just shouldn't be expected. Absolutely. That's a more of a long-term investment before you start to see a return. And once you hit that exponential curve, right, you have to build up from any type of campaign, multiple types of campaigns, right? It's not even a one-off campaign most likely that you're going to do. You're not likely not going to do one campaign or even two campaigns before you start seeing money back. It's going to be a combination of campaigns invested over time, some paid, some not paid that deals to audience and gives you a position where you can then monetize, right? Absolutely. It's pretty much that. But I love especially the insights and the way that there's, you can leverage opportunities that come from playlisting. I like how you broke that down. With that being said, you guys don't just have playlisters or artists who are requesting playlists as people you guys work with. You guys also have this relationship with labels and allow an artist to benefit from that relationship as well. Can you speak more on what this label opportunity is exactly? And then why it kicked about? Awesome. So yeah, the label opportunity at the time of talking to you, Sean, is fairly new. It's in a closed beta right now to our pro community, which is subscribed here. But basically what we're trying to achieve with this label tool is the opportunity for our artist community to connect with other independent record labels, like the people who are passionate about music. And then on the label side, I suppose a lot of artists won't see this, but we provide robust A&R solutions. So another way to put that is we provide them with the tools to really search through the music that they receive to find the right music for their roster. We know there's many different touchpoints that labels look at, whether it be how active and engaged your audience are on socials or on TikTok, how hard you even work in these socials, you know, versus, okay, cool, what's their like touring history like? We allow the artist to upload a one-pager or what we suggest a one-page they can upload as long as they'd like, but given a bit more insight to the labels so they can say it cool. We are XYZ band from, let's say the UK. We've worked with this label before, this label before we've reached these achievements. We've toured with these artists. And yeah, we wanna streamline that process. I think we've all been in, when you've been trying to search your contacts at labels and you're like on the seventh page of like Google and then you finally see it like pop open. But that's rewarding, but it shouldn't be that hard, especially for labels who wanna actually expand their rosters, you know? So we've had over, I think over 230,000 artists use our platform in the past year, which is pretty mind-blowing to be fair. And so, and we have 200,000 submissions plus a week, which equates to about like 15,000 unique tracks. And you know, we're so unlike such a talented community that we don't feel right just sitting on this data that we're set on in terms of like acceptance rates. We wanna be able to connect these artists with labels who wanna push, who genuinely care about finding new artists and pushing their careers. So it just kind of seems like if we build the tool in the right way, it seems like a win-win for the labels, they can save themselves time. They don't have to use their Gmail and people send them download links. And you know, they can streamline their process. They can set, oh, so on the label side, they can set custom parameters for their campaigns. So they can search for artists in specific regions with specific metrics attached to them. So if you turn up on an artist on a label's radar, the chances are they're actually interested in you because they've gone through all these processes to refine and to search through the music that they've got. So having this, I guess, networking opportunities seemed extremely important because on the playlist inside, we're helping you find your audience and find your community is one way of putting it. Whereas with this tool, it's finding your internal community, your team, the guys you can trust, and the guys that are gonna help you go through all the points that we just discussed with the analytics, the really understanding of the campaigns. So yeah, it kind of felt like a very natural fit for what we're looking to build as a whole with daily playlists. Got you, got you. It does seem so. Because obviously you guys already attracted to artists and it seems like the label service experience is very similar to how you guys service playlists, right? It's a nice machine you guys are building there, which I love. Obviously with the ecosystem you all are building, I'm sure the labels over time, as y'all test that, you'll figure out how to integrate that. Now, what do you think? How do you think this fits into the industry as a whole, where you guys see daily playlists going? So like in terms of daily playlists as a timeline, we, at the moment, we've got a lot of exciting things planned. I know that's the sort of go-to, the go-to place, just watch this space, man. But no, we're really focused on quality in the next coming months. We want to improve our site in terms of the flows, in terms of the effectiveness of our tools, in terms of the quality, in terms of results as well. We're very aware of where we're sat currently and where we want to go. And I guess in that respect, like building out the label submission tool, making our, we have an algorithmic submission process as well, which is our subscribed tier, which matches the song to the playlist that are best fit and most likely to actually make an impact, which is really cool, works super well. But we want to improve that. And we want to basically, we've expanded very quickly. We're a very small team. So it's myself and then a developer and then two advisors as daily playlists. So we're extremely small team, but we managed to crank out a lot in the past like two and a half years. So now it's about really improving what we've built. Why are that fits in, I think, in terms of the industry? What we're seeing right now is a lot of saturation, whether it's like, what is like 80,000 songs a day are uploaded to Spotify. I'm sure you found that Sean, like the amount of people obviously wanting to run a TikTok campaign, but just wanting to put TikToks out there or not really understanding the process like 100% and finding the quality over the quantity and finding what's really going to cut through the clutter is what I think the industry is going to head and to contextualize that a little bit more, I really believe it's going to be around sort of the direct to find like aspects, you know, really having these community building tools. There's some amazing ones out there, like Mandolin, Crowed Mouth, Fangage, Lalo, Faith for Fans, Planet Fans. They're really amazing like tools that can really help develop artists' connections with their fans, but also build upon that, give the fans something more than just sort of being a fan of the music, being a fan of the brand, of the people, what they stand for and how they treat their audiences because where the saturation comes into play is obviously harder to make a living then, like especially when you look in other lights of like the Spotify, just in terms of royalty payments, you know, like everyone, and also we're like, I think again, like please correct me if I'm wrong, but we're like TikTok is not like, you're not going to get paid and like directly that much from TikTok that you're going to make a living. If you're an artist running a campaign throughout the song, it's about what you can do with that audience and how you can monetize that audience. And I mean monetizing the nicest way possible, you know, how you can bring benefits to the audience, but also making a career that's sustainable for yourself. And I think also we're the likes of the blockchain world whether you love it or you hate it, I think there's a lot of platforms out there that can also bring a lot of benefits and keeping the power in the artist's hands. You know, they've been saying for years, I feel like it's the golden age for independent artists, which is still very true, but I feel like it's only going to, with the new technologies that are on the horizon, I feel like it's going to be still even more in the hands of the artists, less responsibility on labels and more responsibility on communities, whether they're dolls, for example, in the world of blockchain or whether they are just more rewarding your fan base through, you know, engaging on your releases, like sharing the songs they can get rewarded for that, for example, on some of these platforms that I name. So yeah, I think community building and engagement is where the industry will be heading and really trying to turn those like the fandom approach and turning like getting your first 10 paying fans to your 100 paying fans to your 1,000 paying fans. Yeah, I think that's where it's going to be heading mainly. Got you, got you. Yeah, I can definitely see that I agree with so much of what you said. And I think a good way for artists to think about the investment, right? Because you mentioned TikTok building out your content and figuring out how to monetize it later. Well, that same thing applies. I don't think we, I think people have started to understand that for content marketing, right? You work your content, you work your content, you build an audience and the ask comes later. Music, I guess people forget that music is content, right? So you might be putting money behind it to try to build awareness for that content faster. Sometimes you're just doing it organically, algorithmically, however you wanna say it, but it's still the exact same. Music is just content marketing. So the cleaner people understand that then you'll realize the monetization point comes later, but it's building real community and engagement, which is what makes it happen in a real way. And what you guys are doing, that I love is also the artistry, get that there's a community aspect on the consumer side, but there's a community building aspect on the business side, whether it's playlists, whether it's labels, whether it's marketers, whoever, right? Those are the people that continue to give you payback indemnities as you build those relationships in one way or another, but I think it's hard for people who haven't gotten to that point, where that guy that you knew is now doing something else and it's in a position that can help you because you're somewhere else and you've all moved along. I think it's hard for people to see that and quantify it, but you guys sound to be really playing an integral part of that game, and that's dope, it's really dope. Nice one. So, I mean, with that being said, Harry, I think you've been really insightful in this interview, daily playlists is really being one of the more forward thinking platforms. I've been familiar with, you mentioned another one, I think you said Playlist and Club, I have to check them out. I have seen their ads, by the way, but I see so many ads, you never know what's on the other side of it, right? Hey, I didn't even hear it as- I think when it mentions playlist, right? So it's just like that. So bringing it around to me is due diligence, due due diligence on any playlist and campaign, whether it's from you checking your song and submitting your own song due due diligence, or if it's you've seen an ad, someone saying, submit to Playlist on our site, check out that site, does it seem legit or are there any red flags if they're red flags? Got it. Don't risk it. Just, yeah, trust your intuition as well. Sorry. Good stuff, man. Good stuff. Anything that you want to leave the community with? Other than check out daily playlists, you know, where we've got, as I've been mentioning, we've got an amazing free tour for artists. We've got amazing free tools for curators, and we're looking to really build a genuine product that can help artists in their career. That goes beyond Playlisting as well. We see this as step one in what we are planning with the platform. We've got the label submission tool. And yeah, I think we'd love for you guys to come check it out. If you have any feedback around the platform, any questions, please drop us an email at infoatdailyplaylist.com. And yeah, I'd love to talk to all of you guys. There's me sat behind the customer service email. I don't know if you're any small team. So any concerns, any complaints, it all goes direct to me. So yeah, I love to hear these honest bits of feedback. So check it out, give us some feedback and let's build something together that the whole community can make use of. But I love it, man. Thanks again, Harry. Amazing, thank you so much for that. Yeah, no problem, man. Anytime you want to hop back on, glad to be able to see what you got. Everybody check out Daily Playlist. That's it for this one. Tune in next time. Peace. Peace.