Junia Interview: What Every Artist NEEDS to Know Before Going on Tour

Touring is expensive. Talk to us, talk to us about it. How are we actually marketing the show? We use this platform called. We spend so much time just like cutting through the noise and trying to get down to the basics of why should people care about this artist? And then highlighting that. So I know Justice is big on like don't watch the shows from backstage type shit. I think he was like talking shit about like you know, music industry people that love to be backstage and not actually seeing the performances how they should be seen. So did you watch Coachella backstage or did you do it in the crowd? I watched it in the crowd. I'm proud to say. At one moment, a group of us were going backstage for Doja. Yeah. And I made my way to the crowd because I was like, no, I gotta see this. So yeah, because it's like you can't even hear it for real. It's less for me about seeing it.

It's about the fact that all of the PA is focused on the crowd and you're behind it. It's set up for the crowd to get the best listening experience. Right. It's like, so yeah, no, I definitely experienced Coachella in the crowd. Yeah, there's a reason why people sound check, you know, out in the actual audience versus like on the stage or backstage. It's like you can't actually get a vibe as far as as far as like what's actually happening out there, you know what I mean? Yeah, they'll set up like the VIP little um roped off areas on the side stage too. Even those, you're you're still not hearing the show. Right. You know what I mean? Like, it's cool for the shot though. Yeah. I get it. Yeah. So so who was your favorite performer? That's a great question. Doja Cat really had an iconic performance. Was it like as demonic as everyone thinks her like album and like music has been recently? Was like the stage set up like that? I was talking to some friends about that. It was not to me, but then also maybe I'm just not sensitive to that type of thing.

She, I mean, creatively, she has some of those thematic, you know, imagery and shit like that. So there's definitely little bits and pieces of it. But I thought really she was just in mamba mode, bro. She just looks so focused the whole time. Bro, Doja's hard. Bro, she's amazing. She's so talented. Doja's underrated still. Like, I know she's got hits and like, you know, huge fan base, but I still feel like she's underrated, bro. I was just talking to my dad about mamba mode. Like, for all y'all that thinks she's spending all this time being demonic and creating some crazy agenda. No, she's just spending time to like make her show as good as possible. Right. And the storyline, and y'all are talking about it for a fucking reason because she's in mamba mode, and y'all didn't even fucking realize. Exactly. She created a whole world. So now, like, people get to talk about it. Like, I'm talking to my friends who are not gonna go see it because they're like, oh no, this this is demonic. I'm scared. And it's like a people actually say that? Yeah, yeah, for sure. Oh my god. I was kind of kidding about it, but no, no, no. It's a real thing. I really had that conversation before the show. Okay, sorry.

To everyone out there. But like, you have you're forced to feel a way about it, but she delivered. Like, you can't do that and then just and then half step on the performance. You know what I'm saying? Like the performance, the music direction, the fucking choreography, everything was like low-key mind-blowing. I was reading like reviews and shit. Like, her reviews are like the highest since Beyonce's. Like, that was a fucking moment. Wow. Yeah. What a birthday present. Yeah, it was dope. Yeah. Did she do it just for you, you think? Man, you know. she's like, it's Junior's birthday. I'm about to fucking show out. It's gonna be the performance of a goddamn lifetime. I'm not gonna disappoint Junior. Speaking of Junior. Speaking of Junior, welcome to the podcast, my friend. We got Junior. I don't even want to butcher your last name. I don't think I've ever said it. A Bay Du. A Bay do. Okay, yeah, I would have said that. I'm not good. You would have got it wrong. I'm not good at these. You're good with the first name, though. I know, Junior. One of the LVRN crew, love Renaissance's finest. Is your title still like head of touring and operations or kind of what? Okay, okay.

So I I mean that's pretty much it. Well, it's a lot. Yeah, well, yeah. When all your artists tour, Globally, Around the world. Yeah. Yeah. They're not just like going from Georgia to South Carolina from now again. We've got a college show in Florida. It's a pretty big week. Your Sigma Chi dropped the bag, bro. No, no, these are globally touring acts. Yes. Um, and yeah, so appreciate you coming on because I feel like you know, Henry and I talked about this, and and you know, we were kind of handing on it off camera. It's like we want to make sure our audience gets like the full scope of like what happens in the music business, right? So I feel like touring is one of those things, along with like sync licensing that we haven't really had enough guests on to talk about. And they're very important and they're very like lucrative, potentially, like parts of the artist business ethos. You know what I mean? So like that's why we're excited to get you on. So so who is on tour right now from LVRN? Bro, um, there's a lot of touring happening right now at our company. So we're about to announce a tour, uh, a show, rather, for a management client who we haven't formally announced right now, so I won't say his name, but he's gonna be doing a show in New York.

But who do you think it is? I know, right? Who do you think it is? Tell us when we ended up. That was hella open and ended. Yeah. Um, I can. Okay, yeah. Do it. We're gonna believe it. Okay, it's oh okay. So so we knew that through our mutual friend. Okay, boom. Yeah, perfect. We didn't know about the show and tour or whatever, right? But we knew he was a client. Yes. I'm not gonna lie, I'm very shocked by um that addition to the to the roster. Yeah, absolutely. He's a he's an oddball. Yeah, no, no, no. So the usual suspects of love renaissance, like uh, you know, roster. So I'm I'm excited. I think it's really cool though. I mean, you guys have already kind of like, you know, uh twisted and turned like with some of the you know Afro B and you know, just I guess African-based artists, like you know, we were talking about the joint venture you have. So I feel like that's just another new thing for you guys. Because I feel like you've you've solidified yourselves of like as like R and B, the R and B just gurus at this point, right? So I feel like you kind of checked that off the off the list. Like, yep, we can do that over and over again, right at the highest level.

What else can we do? And now it's kind of like let's let's see what else we got. It's like we definitely want to not box ourselves in, but like we're also getting to learn so much by trying different things. So like somebody like him, he literally is in a very specific point of his career in a very specific lane, uh, just like being who he is and who he is like as an artist and as a brand, but like also the way his mind works, he would be somebody great to sit here with you guys. Oh, trust me, I'm already on it, bro. So if you can pull some if you can pull some strings, bro, he's who our audience needs to hear from. Yes. Because it is unbelievable what he's been able to do, the stories he's able to tell through his content and through the music and through just the personal brand. I mean, it's it's unfucking believable. So absolutely next level. So it's like makes your job easy, huh? It does. It does. It's it's it's nice to work with. We do it, we do it all.

Like we we develop artists, which I'm sure we'll talk about like from the ground. We, you know, help to tell the story that uh that artist already has. But like it's nice to work with somebody who literally is thinking like a master marketer and not just a music, like you know, or evil genius or evil genius. I'm like, it feels kind of evil geniusy some from time to time. Like, what's this guy doing to me right now? He's, yeah, it's crazy. Versus a client who you maybe have to be like, yo, you haven't posted in a week. Like we're trying to get people to find out about you and your music. It's probably like part posting, but it's also just part like understanding what the story is that we're telling. For Sure. Like, and also like understanding how to provoke a conversation, like we were just talking about with Doja. Yeah, you know what I mean? Like just knowing what buttons to push. Oh, he's pushed them all. So it seems like he's pushed all. I don't know how many more this guy can fucking push, but so who else? Um, who else is on tour right now?

Yeah, so Black is continuing his Since I Have a Lover tour. So he started that last year, did North America. He's gonna do North America another segment. He's gonna do another leg of it this year, starting late uh May. He'll be in Australia before that. So he's gonna do headline shows in Australia and New Zealand, then do some more since I have a lover shows. But then he's also going on tour with Russ. I saw that. Yes. So we're working on those. How did that how did that happen? Um, you know, we've all kind of been really cool with the Russ team and with Russ for a minute. And so Black and Russ have known each other for years. Well, honestly, you know, Black 6LACK is in a tour deal with Live Nation. Um, Russ is Live Nation as well. And so that also helps because it's like there's mutual, there's a mutual conversation of like us all getting the bag together, but at the same time, they definitely have had a relationship for a long time. So like they're working on music and shit like that too.

It seemed kind of odd to me, not gonna lie. Really? Yeah, I don't know. I I'm I'm a fan of both, so I'm kind of like, okay. dope. Yeah, I was just kind of like, okay, dope. But I mean, I didn't really see it coming. Yeah. When you know when he announced it, I was kind of like, oh shit, because I I had seen the Since I Have a Lover tour like promotion last year, and then I saw him announce, you know, the the additional dates or whatever for this year. But then yeah, that one kind of came out of left field for me. But do you feel like there's overlap between the fan bases? I think there's definitely overlap with the fan bases musically. They're female. Um largely, large, largely mostly female fan base. Yeah. But like, you know, they're both from Atlanta. Um both like melodic in their approach to rap. Is black a rapper? Ha, you're gonna have to ask him that. What does he say? It depends on the day. Okay, so like today I am, but like yesterday I fucking wasn't, so don't know. It's it also depends on the competition because he's he's competitive too. How does he feel about all the competition that's yeah going on right now in the game?

Has he, you know, has he thought about like maybe just throwing shots at somebody for the fuck of it? Get an Usher beef. goat? I don't know about that. Yeah. We'd have to ask him that one. just set up an Usher beef. Just out of nowhere. No, but we can't beef with a goat, though. Yeah, it's all it's all fugazi, it's a woozy, it's a wazzy, it's whatever. It's a woozy. It's a wazzy. All right, so we got so we got Black going on tour with Russ. Yeah, we got uh unnamed addition to the roster, who y'all are gonna be super fucking pumped about to, you know, to hear. Um, who else is on right now? Is Summer touring? Uh Summer just got done doing some shows in Australia. Okay. She is gonna be doing a next, a next headline run of shows. How big are the Australia shows for all your artists? Uh man, Austral Australia really loves RB and hip hop for sure. Yeah. For sure. So like the market is always there for it. And the Suicide Boys, even not RB, but I heard the figure that they made with two shows in Australia and one New Zealand. It would make your mind explode.

Yeah. Wow. Bro. It's unheard. Like, yeah. It's crazy. And I feel like they just don't get so many of their favorite artists as often. So like when it's time. They make a point that they're gonna be there. Yeah, they should move the fuck up. Someone said something about Atlanta. Yeah, we don't give a fuck that. Because everyone's always here. Yeah, we're like, oh, cool. Drake's here again. Like, yeah, sweet. Like Taylor Swift was here last night. Fuck off. You know what I mean? Every night. It's some new shit. We're spoiled. Damn. Yeah, no, no, no, for sure. All right. So Summer's been doing some shows. Yeah, she's been doing some shows. She's she'll be doing more next year. Um, but we're kind of getting the music together. But then the shows will be the next thing next year uh for her. So that'll be exciting. That'll be like a big step for her. Yeah. Um that we're working on now. We have Sad Boy doing shows. Okay. One more time alumni. One more time alumni. Hey, yeah. Yes. She's, I'm not gonna lie. I'm gonna just say it was our interview, bro, that just popped her off. Set her the fuck off, man.

She got her deal. It was one more time podcast, and then she's on stage at a Drake show, pretty much. Or like, either timing lines the fuck up. I mean, talk about storyline. I mean, we should definitely lean into that, bro. I'll let you come on, bro. Take credit for that one. This is why we're not gonna make it, bro. With an attitude like that, no, we pop sad boy off. God. No, I'm just kidding, man. no, I I love her. Oh man, I you know, I went to her show um the night before she came on the pod, and like such great energy, and I feel like she's just come into her own even since that interview for real. Like, and since then, she's had a couple of like smashes take off. She's getting covered by every you know platform that she should be being covered by, um, you know, appearances in the right places. So yeah, the past couple of months has been just really rapid growth for her. Oh, yeah. She's been she's been developing with us for over a year now, probably two, over two years, but like just the past few months have been just like it's all been making sense. Even um, she recently finished her new mixtape that's gonna come out soon.

And that shit is I was just listening, listening to it um while I was at Coachella. That shit is crazy. Yeah, okay. Yeah, y'all gotta love it. Is it kind of dance hall yet? It's got yeah, it's got everything that we're we're loving about her right now. Hell yeah. Oh shit. Let's go. Yes, new sad boy on the way. So obviously you're not a tour manager. Okay. But I started as one. Okay, so like let's let's maybe just like describe what it is that you know, the head of touring and operations at a you know, label and management company like LVRN, like what does your you know week to week look like, right? Yeah, on the touring side of things, uh the way I try to like schedule my weeks is I try to focus on different aspects of my job on different days. And so on a Monday, for example, I might be talking to our agents about our live show strategy for a certain client. Um, what does that mean?

So that would mean when we want to do headline shows, do we want to open for people? Do we want to submit to open for certain shows? Do we want to submit to certain festivals? What festivals do we want to target as being important or pivotal moments in our rollout strategy for that artist? So can we walk through a live example of like, you know, weighing the pros and cons of maybe like, I don't know, if you want to use sad boy or whoever, right? Because I'm assuming, you know, you take a sad boy and it's like, should we do small headline shows? Right. Small rooms, or should she go on as support for whoever the fuck, right? Right. You know, how are those conversations going and like how are we actually thinking about that? Yeah, for sure. So if we're going with Sad Boy, right? Like we are thinking about, for one, I mean, everything revolves around the music timeline, but like we're thinking about the music timeline. Um So when, when is the best time to tour in relation to music? Um that can depend. That I would say that's really case by case.

Because in certain situations, you'll have certain singles that are taking off. And so it's like it makes perfect sense to go do something with some singles out and not like a full-length project. You know what I mean? But then in other situations, I think it makes the the typical like kind of rule of thumb, I would say is like you're dropping a project and you're trying to get out on the road two to three months after that. Okay. Right? Like if you're doing like a full length US run, for example. Okay, like that's kind of your timeline. But when you're when you're routing that tour, the things you're thinking about are for one, what you what sort of data metrics you have in different markets. So you're you're using those things to gather more information about where you should go. But then once you pick the cities you're going to, you're you're picking venues based off of just vibe and experience. What what venues have do people actually enjoy being at? But then also you're trying to, at least for us, at least for me, I'm always thinking about how to how to sell out a venue where we leave demand out there, you know, where we're not like kind of scraping to sell every ticket until the very the day of the show. So some people not being able to get a ticket is better than not sold out.

If you if you're in that position, if you're blessed to be in that position, I 100% prefer that. Yeah. Over like if you can do a 1,000 cap room with two months of sales time, but you can do 500 in a few weeks, and you're a developing artist. A lot of times, in my opinion, and in our opinion, it makes more sense to go do the 500 or a little bit bigger because you're creating it's the same thing as like uh a niche fucking streetwear brand or some shit like that. Limited shoe drop. It creates FOMO. It's exactly the same thing. I cannot miss the next show. I fucking didn't get my ticket last time. I'm buying my shit as soon as it drops next time. You mean we didn't get to see sad boy? We didn't get to see sad Boy. We didn't get to see Sad Boy. God damn it. I thought we could wait a week and then buy the tickets. Nope. As soon as the pre-sale hits next time, we're in there. I'm buying. And I'm buying four for me and my homies. Everyone's getting one. And you're training your fan base to think that way as well, which is important as well. Cause like the way that you start out, the way the way that you the habits that you create in your fan base will carry out.

So like somebody like Travis Scott, like he's he was really intentional with like the way he built his merch business from the day one. Like all those things matter. So, yes. How do you go about actually marketing the show? Right? So a lot of artists aren't necessarily the best at this, but I would assume you guys try and you know take as intentional as a as an approach as you can, right? Like when the tour is booked, how are we actually marketing the show? Yeah, for sure. So we use a lot of CRMs, which is customer relationship relationship management software. So like we use this platform called Lalo. That's our favorite. And essentially what it is, is it's a platform where you can collect phone numbers, emails, your fans can sign up via Instagram DM, which is a really cool and like unique feature. And essentially, you can text your fan base, your fan base can text you. They sign up. You can segment and um just have direct contact with with your fan base and have more information about where they are. So we use that platform a lot of times or other platforms as well to make sure that we're going directly to the fans as well as relying on, I mean, sometimes we'll rely on promoters, sometimes we won't, depending on the situation.

But you know, there's there's so many different tools now. Like there's Spotify has um fans first, which is a which is a service they offer where essentially they can help by messaging all your fans in a certain region, you know, that you have a show coming up. I've gotten those. Yes. And they work. Yeah, they were they fucking work, like yeah, they know who I'm listening to. Literally, and they serve me. Yeah. Shows in my area coming up. And it's genius. Yeah. The fact that they hadn't done that out of the gate was like, you know, it's one of those just little things that you think that should have already existed and it didn't, and then you're so happy when it does. Right. And side note, make sure all your shows are on your Spotify. Like if you have a show coming up and Spotify doesn't know about it. They're doing things like letting, you know, similar artists to people like you know that you have a show coming up and you could easily sell tickets like with no work at all just from their software. So literally, yeah. And so, you know, we're using things like that. We're we're, you know, taking into account Bandsintown, Songkick, which are other platforms which are similar to Lalo, but you just don't have as much ownership over the customer data.

But you know, these are places where fans know, you know, they're used to going there signing up for updates about when you're gonna be on tour. So yeah, how are you using like digital marketing tools? We definitely will create a digital and social media strategy for each platform. Um, we'll shoot content specific to each platform. And how about like ads? You guys running ads? Yes, we do. A lot of times, though, we'll outsource that to either the promoter or to a digital agency on a basic level too, though, just the artwork being really, really striking and like eye catching is like, where those things make a huge difference. So is that important? It's it's really important. Like so, like 21 Savage's homecoming Europe tour artwork, yeah, that being fire, right? It sold tickets, yeah. Absolutely, or like that's crazy. Like you wouldn't think, maybe.

I don't know. Because even like in our conversations internally, sometimes we'll kind of overlook the importance of it for a second or just like forget. But like literally, you see the difference between artwork or assets that you feel really, really strongly about versus ones that are like, uh I've talked some shit about cover art not mattering as much. For sure. I really have we've we've said it both ways, yeah. Yeah, like album cover art and song cover art. Like, I just felt like that's not necessarily where the artist's money and focus should be. Like, if you have a limited budget and you want to pay some graphic designer a couple hundred bucks, I feel like that should be spent elsewhere. I'm just I'm being kind of like playing devil's advocate there. But at the same time, I really thought about it as we've started to like have to come up with a bunch of different graphic assets. And like, yes, there's a version of me that wants to just be like, okay, that's good enough. And I feel, I feel feel like that's probably what you guys were talking about sometimes, right? Of like, oh, okay, yeah, like, you know, we just need a concert flyer, a tour flyer, like someone whipped that up, like, okay, whatever.

But then when you look at it and you're like, huh. Yeah, that doesn't really do anything for me. I don't feel anything by looking at that. I don't understand what I'm gonna get out of this. I don't that evokes no emotions. It doesn't evoke purchasing. I'm definitely not buying anything off of that bullshit. You know what I mean? Like, it's fine, but you know, and I think that's where you gotta think about like is this gonna help convert? You know what I mean? Because it's like if you you gotta you gotta give a glimpse into the experience since you're literally trying to pull people out of their homes to the experience. So, yeah, I mean, like, shit, you said the 21 Savage artwork, like Meg Thee Stallion's artwork just being like immediately like, what the fuck is that? Like, like that sold, I think she like damn near sold out the tour like in the first day or so. Like there's there's tons of examples of it. Um Party Next Door, new artist new artwork, yeah. Yeah, um, and like, yeah, like I'm buying the album.

Hang it up on the wall. I'm getting a poster of it for sure. My wife's gonna be like, what the fuck's on our wall? That's party next door's new album cover. It's just it's a good, it's the music's good. Okay, it's not about the art. I like track four. Yeah. Uh yeah, no, I think it's important, man. Yeah, you know, there's there's a lot of noise out there, so it's it's good to have something that cuts through. But like literally in the past year or two, all the different tours we were just talking about, like we've seen the difference when we feel like this artwork is it versus when we're like, uh, let's just get something up really quick. Yeah. It never works that it never works out that well when you just sort of like, let's just get something up really quick. Yeah, yeah. You don't think it matters, guys, but like I promise it does. And I feel like your brand matters, and it's a representation of your brand, you know. Absolutely. Um, all right. So, like, you know, let's talk about when the right time to go on tour is, right? So I'm an independent artist. Um, I'm a fire rapper. I love this.

He loves being the fire rapper I love Putting myself in the fire, I'm a fire rapper in the city, I'm the dopest shit, you know, in Atlanta right now. He's the next Lil dicky. I'm the next. I was gonna use another one, but we won't spoil the we won't do a spoiler alert. Um, but no, so I'm I'm a you know bubbling independent artist, never been on tour before, never been on tour, maybe done some local shows, of course, right? Yeah at what point, what are we looking? Are there metrics that we're looking for? Like, how do I know when it is time to pack the fucking van up and do any sort of tour, whether it's regional or or you know, whatever, right? Like, yeah, I think, well, for one, I don't believe in being overly precious about the right time. Like, I think that sometimes you gotta get out there and try because that's how you gain information. So, like, you get more data points about what you can actually do if you try to go do a fucking aisle five or some shit like that. Yep.

So, like, I know I just said, you know, let's underplay if we can, and like if we can sell a thousand, let's do 500, and now we're saying like go try to do a show and figure it out. But I think that's important in the developing stage. Before, like, if you don't, if you're, if you're not able to really identify what you have, it's important to try to find that out by doing. I also think though, that as much as all these different services, you know, are your best friend, whether it's chart metric or um another CRM, like shit, even like Layla, which I was talking about earlier, has a feature where you can your fans can request a show from you in their market, you know. So like that's amazing. That's pretty cool. That's amazing. Yeah, that's guaranteed demand. Exactly. So, like that's so fire. Well, they could then not buy a ticket, but still, dude. I'm just I'm just saying, like, that's a very warm lead. Yes, yes. That's all I'm gonna say.

Like, if they if they took the time to do the Laylo thing and like click request show, I don't know how it all works. No, that lead is preheated, it's in the oven, bro. We might not want to take it out yet, but like this shit broiler, it's cooking 500 for sure. I always burn shit when broil's on, bro. Yeah, you gotta watch it like the amount of bagels I've broiled. Turn the light on and don't stop looking in that. I get distracted with my phone and shit, bro. I'm never in charge of the broil, but I digress. But but it's like you know, it's it's it's a feeling thing too. I also like I love to be really intentional about trying to get opening slots in markets where you don't feel confident selling your own show yet. How does that work? So that great question is like sometimes it's relationships. Artist hits up the artist. Artist to artist, manager to manager, yep, manager to agent, agent to agent. It can go a million different ways. Guys, relationships. Relationships are important.

This is the most huge. This is borderline the biggest relationship business on the planet. Like every industry borderline is relationship-based, but like the music industry. Yeah. Yeah. For sure. Like when y'all think it's because they knew someone, it's probably. Oftentimes because they knew someone, bro. A hundred percent. I just I'm privy to it now, man. Just even doing the podcast. It's like, shit, the fact that we have the guests that we have on sometimes. It's not because I'm this chipper guy in their DMs. Like, no, no. They knew someone that knew someone and now they're, you know, willing to come on our show. Or they saw our page and we, you know, are followed by some of their friends. Either way, it's like that's real. You know, or they saw a clip of you know us with someone they know. It's just all just because of someone else. Yeah. Okay. So it's like use the relationships, and then you're just what shooting the shot, being like, I want to do a show in Chicago, or like what how does that conversation go? In terms of opening or in terms of playing on your own show.

Yeah, yeah, opening, right? So yeah, like if you're trying to get honest support and you're using the artist to artist or manager to manager or whatever, like is it just straight up like, hey, I know you're going on tour, like what's good? Like, how does that go? I mean, it's like, I mean, it's always good if you can demonstrate some value that you're gonna bring to the show. That's important. So if you do have any sort of ticket history or experience in that market or data about what your fan base looks like, that's another thing too. Like the relationship can be great on a manager to manager level or agents or whatever, but it's like a lot of times for most artists, they have to fuck with the with who's opening for them, right? Because it's like it's part of the experience. So they don't want anything a part of their overall experience that they're handing to their fan base that's not in line with what they believe in musically. So like there's a lot of times where an artist will say, Well, can you just call this person's manager for me? And it's like, yeah, we can, but at the end of the day, there has to be that alignment in terms of like this person actually being a fan of your music, you know?

Artists think that they're bringing on managers to do the fucking networking for them. Yes. I want you to be in all the rooms and have all the relationships and just you know, fucking string me along and be press the button and be the little puppeteer behind this, like be the master. Like, no, bro. Yeah, this shit has to come from you. Like, to your point, like, no artist is gonna let someone open for them because the manager's homies with the manager if they don't fuck with the artist. Yeah, for sure. That would be career suicide. Like, who would do that? Like, just put your in the same thing with features. No one's doing a song because they love their manager so much, and their manager loves this other person that you really don't like. And if you're doing that, that's weird in my opinion. Yeah. I don't think anyone's doing that. That's like a respectable artist. Like, no, you're doing stuff because you actually genuinely like fuck with the artist. Yeah, you're right. There, I'm sure those cases exist. Sure, everything has exceptions to the rule, but it's like times out of ten, yeah. Like, you gotta believe in it. So that's that's a big one.

But then touring is expensive. Talk to us, talk to us about it. Touring it. It's one of my little I literally have like financials of touring. Like, let's talk about it, bro. Yeah, so like that's one of the most common misconceptions is that this person is on stage, they're making money. That is not the case. Josh, come on, bro. Are you sleeping? Josh is fucking. I was paying attention. That's some fucking. I'm learning. Okay, well, learn over there. It's so expensive, bro. So like I say that to say there are times where if it makes sense and you are in that sort of a position, you might be able to pay for a spot on a tour the same way you pay for it. Oh, I hope he I was hoping he wasn't going there, bro. I did, I did. I knew he went there. I knew it. The pay to play. Yeah, no, that's just not to say No, it happens. No, come on. Stand on it, bro. Ten toes down, bro. It happens. And it might be beneficial. It's part of the game. Yeah.

Y'all done it. It's like paying for a feature. Y'all done it. Well, we have definitely accepted payments at times. Have you paid? Have you paid? Have we paid? Come on, bro. Don't fucking lie to us here on the one more time podcast. Not any current clients. Really? Yeah. Okay. But no, it happens because touring is expensive, which is really the most important part of what I was saying. Yeah, I mean, because what? Like, what all goes into it? Um just like what are all the expenses? You know, just it sounds obvious, maybe, but I want everyone to like just know. Yeah. What are we paying for here? Yeah, for sure. It depends on the artist and the situation. But you know, moving people around is generally just expensive. So you have flights or a tour bus. Um a tour bus for you know, for the people out there who don't know, can run you, you know, 2500 a day. You know what I mean? Oh no. No. No. It's more than I thought. It's

way more than I thought. Yeah, like that's a nice one. Does that include the driver? Yeah, yeah, that's a nice one. More than one driver. Does that include the driver? Um, depends on the tour bus company. Okay. Um, because they're not allowed to drive more than X hours a day. Yes, that's true, too. And so you have situations where if you're if you have like a long drive and like a night to make it, you have to get like a double driver. Yeah. Like there's all expenses come from everywhere. But is this part of your job? Yeah, for sure. So you're having to like budget the tours. Yes. I'm budget. So when they lose money, it's like, God damn it, Junior. Yeah. What the fuck are you doing, bro? You're fired. Oh, wait, you're a founder. Damn it, we can't fire you. Yeah, I'm definitely that's part of the role is budgeting the tours as well as putting together the strategy of what what we actually want to do show wise. Is taking an L okay? Um, yeah. Is that can that still be a W if we take an L from the tour side of it? Are there cases where that's actually still a W for the artist?

Yeah, Cause at times it's an investment. Yeah. That if you're making it from a place of understanding why you're doing it and how much of an investment you're you're willing to make, and that's you know, you still have to budget it properly, but that happens all the time. Tour support terms in artists um contracts for for artists who signed to those types types of record deals, like that's what it's there for. Is is for times when you're gonna go do a show or go do a tour and you're going to lose money on it, but it's going to benefit your career. So yeah, L's are a part of touring. It's probably a larger part of touring than people think. Yeah. Back to that point about how there's not every artist is making money on tour. There's so many phone lights up, Junior. How can we be losing money? Do you see the phone lights in the crowd? But it also depends on how you do it. So, like, you know, if you're investing in large bands, large productions, lots of video screens, lighting, cryo and pyro jets, and all these different things, obviously you're spending more money.

You know, there's artists who go out there, pack out a thousand dollar, a thousand cap venue, and they're doing it with their DJ, and they're not bringing shit. And they'll probably, yeah, they'll they'll they'll make some money. But I'm just saying that for artists who are really invested in creating a very specific creative experience at their shows, it can be harder to make money. Might have to take a couple of losses. Yes. You want to, you want to make Astroworld? Yeah. Oh shit. So spend a little more. So how do you weigh the pros and cons of that? Right? Because in my mind, like, yeah, gauging brand is so hard to like how much are we getting from this? Yeah, exactly. So how do y'all approach that, right? Because to your point, you could send every one of your acts with just the fucking DJ and their mic, and good luck. Like, you know, have a good show, have a good show. Yeah, yeah. But but like, you know, how how do you weigh the investment of the higher level production versus shit? We had, you know, Courtney Stewart, Khalid's manager, talk about how Ed Sheeran tours with his guitar.

And he just is making just money hand over fist. Like the dude is just raking in the cash because he's selling out stadiums with no production. Fucking guitar. Yeah. So it's like people are jealous of that to your point, because it's like, shit, we're over here blowing shit up on stage and you know, doing whatever. Yeah. Um, and we're losing money because of it, right? So, yeah, like how do y'all it's artist by artist, and what's true for the artist is what we're trying what we're truly trying to highlight about them, right? So it's like the Ed Sheeran example is great because the ethos of his artistry is him in a guitar, right? So it's like it wouldn't make sense for him to spend a ton of money on dancers and you know, building a bunch of fucking shit because literally people are there for him and the guitar, you know. So he just cracked the code. Yeah. How can I sell out stadiums? I don't think he was thinking about that when he wrote those songs. And have my ethos be me and my guitar.

He got lucky. He it's like it definitely worked out for him. But like there are artists that we work with who don't need to invest a ton of money in in certain types of production and things like that. And that's great. There's other ones who, because of what our goals are for them brand wise, or what we're doing in their part in this part of their career trajectory or whatever you want to call it, it makes more sense for them, or it's more important for them to have certain things on stage or to be viewed in a certain light. So it's case by case. Even if we are investing, we're always aggressively looking for ways to be efficient. What's the most unique uh like production that you've you've been a part of, would you say? One of my favorites was definitely Summer's Clear Show that she did in Atlanta. Why did you like it so much? Well, for one, it was the it was one of the first real times where Summer leaned all the way in to what her live experience was gonna be, and really had her hand on every piece of it from the music direction to how she wanted the stage to look. She added choreography, she added um background singers, she led a lot of of that process and and putting together what they're gonna be singing and how and stuff like that.

I kind of got to see her reach a new level in her artistry because up until that point, she was way more what's the word? She was way more passive, yeah. Yeah, it's just more passive about the live show and and more nervous about it. You know, it's it's been well documented, like how she wasn't always comfortable on stage. But if you've seen her recently, it's like a 180. And it started at that show. You know, what would you say had her like turn the 180, right? Like, so for an artist who's maybe not super confident in their live show or maybe doesn't understand the value of having you know their live show be on point, right? And something that you know fans are gonna remember forever. You know, what was the the turning point, you know, for Summer? I think coaching was huge because um Tiana Taylor and Coco, they're the their duo is called the Aunties, and so they've been working with Summer for a little over a year, starting at that show as well. I think their coaching was like huge, had a huge impact on her.

So just her feeling comfortable, like dancing even. Yeah, you know, things like that. I also think, you know, it's just like she had a certain amount of repetition and times on stage where you do it enough times to figure out what you do like, what you don't like, what's most important to you And you refine and you refine, yeah. And so it's like I think that that mixed with that coaching, yeah. Cause for me, I just feel like a lot of people's live shows could use some work, but I do think you know it is that cliche of just like practice makes perfect, you know, to be honest. So whether it's like you know, the rehearsal side of things, like how much are your artists rehearsing like before they go on tour? For somebody like Summer, she might rehearse if if she's doing a full tour, she might be rehearsing like a month or months in advance. Yeah. Um, for other artists, it depends on the budget. don't tell me. He was about to be like he was about to be like a day, like they just practiced it one time before black went on an Australian run. And like Black is a is a rare case though, because he's been touring with his same band for almost 10 years now.

So, like a band is a cheat code. Yeah, a band is a cheat code, right? They know what each other are gonna do before they do it. But just having a band, isn't that so is that so important? It is, but it also back to the Ed Sheeran point. It's like depends. It depends. Everything depends in music, bro. It does because no one's the same. I know, but it's hard for our artists sometimes. Well, like consider that. Maybe it's right for you. Yeah, but it depends. I know, but it would be so much easier for them, but they'd be like, if I just got a band, well, I'd be out of here. We say that we say all the time, like there's no blueprint. If there was a blueprint, everyone would follow it and everyone would be famous. Yep, every single act would be fucking out of here all the time. Yeah, okay. But it's like, but it's super important though, to really key into what is most important for you as an artist, you know? Yeah. So like that's all that we spend so much time just like kind of cutting through the noise and trying to get down to the the basics of what why do people why should people care about this artist? You know what I mean?

And like trying to pull that out. So like that's all we're talking about when we're saying it depends. It's like just not worrying about what you're supposed to do, and trying to focus on what it is that is unique to you, what it is that people should care about about your artistry, and then highlighting that, and not spending money on all the other shit that just because you feel like you have to. Bro, that's the other gym. Whatever I said was the other gym, that's the new one. That was it, bro. Clip that. Clip that no tour editor clip that. Yeah, because bro, oh man. I think that's just like that, just perfectly summed up what you guys do so well and why you've been so successful. Because nothing else matters. It's only the story, and it's only the superpower of the artists. Yeah. And I feel like that fuels everything. You you know, you wouldn't think that it would fuel the tour, like you he should just be responsible for like what venues and you know what dates and how much money and the tour bus costs this, but it's like, no, you even care. Yeah, no, it's and that even impacts what you do.

It's impacting how I'm thinking about it from start to finish. Literally, That's crazy. Yeah, and that's that's um, I'm glad you made that connection though, because that's every single department, our creative team, our marketing team, me and the touring team, we're all thinking like that. A and R, of course. And that's when you get the best shows, is when there's like that understanding of the whole, you know what I mean? It doesn't feel like why the fuck is this artist doing this again? Like, you know, it just it feels like another aspect of their artistry or another layer of the album or something, you know, it just adds on. It's another episode in the story, baby. Yeah, there you go. You know, even drop something for yourself. Yeah, for come on, bro. Sometimes Henry's got something. Even just like when we went to Rolling Loud, even just Nicki Minaj on her day, just everyone wearing pink for her. She just had Pink Friday.

Like, just having that, just we there's a million people wearing pink. We're like, oh shit, that's they're all participating in the the new Nicki episode. You know what I mean? She definitely made that a requirement of Rolling Loud, probably, right? I don't know. To headline it, or was that their idea? I think that all parties were probably happy with that. I was so I was so confused why everyone was wearing pink because I didn't remember that. On Friday. Yeah. We got their first day, and it's like I had just flown in. I was a little, you know, discombobulated by you know the flight, the pink time zone, whatever. Guys, girls, and it's all pink. Y'all were at Rolling Loud. Did y'all go to it was three days? Yeah. Yeah. Sorry. Actually, Ye had his own day on Thursday. That's right. That's right. It was a long day. Ye and Ty on Thursday. Four days. Word. Who did y'all like the best? Didn't see a lot of artists performing there. We saw YG and Tyga. We were in the press lounge chasing down interviews. That's it, right? The whole time. We only saw YG and Ty. I saw Ye and Ty. I was there.

I only saw YG and Tyga. I'm almost positive, bro. Is that it? Swear to God. Wow. It was our first time at a major festival. Word Congrats. at doing press. Yeah, it was it was like something we were really proud of. But everyone thought it was like super sexy, and we're just in this press prison. And like, shout out to Rolling Loud. I fucking love you guys. And it's we're excited for Miami in December. We're excited for Miami in December. We're gonna be there. Yeah, we're gonna be there. So see y'all there. But but the reality is more like sexy red. Can we get 30 seconds? No, okay. Sorry, I'm sorry. Damn, yeah. Yeah. Uh so it was a lot of just you know, waiting around and looking around and seeing, oh, like, is that that you know, because we're also like still, you know, relatively newer in the industry and like the grand scheme of things, and like especially not knowing, you know, for us, we also target people that are maybe behind the scenes, and like you don't necessarily know what all these people look like and who's playing what roles and stuff, right? So we got some we had a photo album of people, like that we could look at.

Swear to god. Is that that manager? Is that that physical album? Like a no, like a shared. Okay, gosh. Open it up. flipping through. No, I'm like flipping through like what you got there, just a picture of you, man. That's Ghazi from Empire. You're on page 37. Quick, that's Ghazi. Go. Yeah, no, Ghazi's one of those ones. You recognize him, yeah. Tall, bald, you know, you know, Palestinian guy with giant scarf that looks just badass and powerful. Uh, but there's other people that I was like, oh man, that was yeah, but alchemist. Let's tell the tell the alchemist. Oh, yeah. Y'all interviewed Al. No. God damn it. Junior. I almost feel like it was a dream. I think it was. We're like just sitting in the middle of the press lounge, and he just walks in with one of his patented giant coats. It's not cold out. One homie on each side, just slowly, it's felt like forever, just watching him walk directly up to us. He's just Uncle Al. He's just and everyone else. We've been very, you know, candid. Like, yeah, can we get two questions? Can we talk to you?

Can we shoot something? We were just frozen. I got so scared. He's he's standing right next to us. I I couldn't. It feels like five minutes go by. It was about an hour, bro. It was about 30 seconds to go by. He turns around and leaves. Just wanders off into the no, we didn't. He stood right next to us for 30 seconds and then dapped. That was never saw him again. I'm so sad. Yeah. Oh, I feel it. Alchemist, I was just like, it was the aura, bro. Something he was glowing. He was glowing, bro. What's your favorite Alchemist. Oh collabs? Yeah, collab project. My God. How can you pick your favorite child? You know what I mean? Yeah. That's hilarious. I mean, Great Escape was my most streamed project of last year. Both of them were my top five Spotify artists. I gotta love, I gotta love Gibbs and I gotta love Gangsta Gibbs and Alchemist, bro. Yeah. Was that? Alfredo? Yeah. So good. Yeah, shit is amazing. top to top to bottom. It was nominated for best album, right? Yeah, and the um the like visual storytelling and everything that they did with that rollout, I just felt was like impeccable.

Something about like Alchemist and uh Freddie, like just on camera and like just the different sets that they had for some of the music videos and whatnot, like I just thought was like next level. So yeah. Mine would probably be Alfredo or um currency Covert coop. Yes, bro. I just was about to say that's over 10 years old now. That's Crazy, yeah. So what's the biggest change that's happened in the touring sphere, right? Because there's a bunch of AI that's impacting this, and there's a bunch of you know, digital marketing stuff that's impacting that, like just from your lens, how has touring, like the world of touring changed the most? There's a lot of changes, man. I could kind of go down the list. Like, for one, there are so many more festivals popping up year over year. There's like a new obsession with festivals, which is great because I think that it allows more niches to really get experiences that are specific to them, which which I think is dope. How do festivals play into the overall touring strategy for LVRN's roster?

There are times when festivals are a money play. There's times where it's a tastemaker play, and like getting in front of a certain type of audience or a certain niche. It really kind of falls within those two things. How good is the money? It can be great, you know? Like it's the best, right? Low key. I think it's the best. It depends, though. Like everything depends. But no, it, but it nine times out of ten, it is, it is the best bag. Like, so if you're riding a tour and you can route in a festival or two, that is usually a great thing. So do you have to know those festivals or is it the agent's job? Both. Both. Definitely the agent's job, but I am definitely directing them on where we want to be and when we want to be there. And like we're having conversations like, okay, we can we can probably get this slot at Wireless, but y'all might be the first performer up. Do we want to push for this slot this year, or do we want to focus on building the brand this year and then like look to a 4 p.m., 5 p.m.

slot next year? Like those types of things you're weighing out. And how do those conversations go with the talent? We come up with the plan together. So like we'll just try to set our plan out for the year, and then we'll we'll we'll try to align on it and then set it out with whoever our partners are. If there is an agent, some of our clients don't have agents, but if there is an agent, then we'll loop them in. But how does that work if someone doesn't have an agent? Um are you doing all of it? You know, we might be we might be leveraging their lawyer to like look over the deals rather than sending it to an agent. But in terms of like actually pitching the artists and like trying to get them looks, yeah, then that falls on us. Okay. Or like day to day, yeah, or your manager or something. Exactly. Yeah. So we had Courtney Stewart on the podcast. He was talking about one of his artists, Wynn, who like wanted to be on a festival, and he kind of told her, you know, at her stage, it's like the the thing about festivals, most of those fans are not there for you. Right. They're there for like the headliner, you know. You might be this afternoon slot, and he didn't see, he wasn't hating on festivals, but in his eyes, it it's not as good of a, you know, marketing and branding kind of play because these aren't necessarily your fans.

Does that weigh into your decisions also? It definitely does. It definitely does. But I think that it's also a unique experience in that way too, where it's like you get to learn how to win over a crowd that isn't all there for you. You know? That's huge. Yeah. That's a very important skill set to have. Like one of Sad Boy's earliest opening tours was um she opened for Ira Star. And during their New York date, there was um, you know, she was trying about a few different things creatively, a few different creative elements of her show that you know, she was testing out essentially. There was a period in her show though, like halfway through, where you could like visibly see her win over the entire crowd and then like go crazy the rest of the time. Was it the sad boy sacrifice? That was that was part of it. It was like Bro, whoever thought of that idea. Let's keep that going. Sean?

Sean. Yeah. Shout out, Sean. Bro, stop working on filming fucking television and give us fire touring marketing ideas, like the sad boy sacrifice. That's fucking. hilarious. that was That won me over. It does everything that you would expect. It's great for her confidence. It's great for her to see what works and what doesn't. Um, so yeah, so I think that I feel that point about not relying on festivals because it is important to build your own history in markets and your own fan base. That's like definitely probably most important. But I do think that it's great to take that opportunity to to see if you can convert people, you know? Yeah. Yeah. Absolutely. Yeah. Henry, yeah. We've entered a final segment of the podcast. Shit. I'm just going to move up. Shit. Mike in front of you there. This is the rapid fire rampage. This is.

Yes. This is. We're gonna break down to three parts. Real simple. I'll explain them as we go. Start with starting with some short answer questions. Let's get into it. Let's go. Junior, on a scale of one to ten, rate Ben as an interviewer. And be hard. On a scale of one to ten, ten being the best. Yeah. Okay. Man. I gotta give you an eight, bro. Let's go. Really good. All right. I'll take it. Room for improvement. Very nice. Just because, you know, like a 10 is like, I don't know who a 10 is, but like who is a 10? I don't know. Yeah, I don't know. Who's the best interviewer on the planet? I don't know, man. Yeah. Uh Bobbi Althoff. All right. You're gonna you might get your mic muted here if you're not careful. Um I don't know. I like like Speedy Mormon. He's fire. That's decent. That's great better than that. Yeah. Speedy's great. Junior, give us your favorite black story. Just something that sticks out. Mm. Could be funny, could be sad, could be inspirational.

That's a tough one. I guess the first one that comes to mind is since we're talking about touring, is I will never forget his first show at Aisle Five. Aisle Five is a 350 capacity venue in Atlanta. So it's like it's small, but man, it's a vibe in there. I love their their lighting setup. Mm-hmm. and their in-house like directors is just really on it. But anyways, so Blacks sold out Aisle 5, and the line outside was like the craziest shit we had ever seen. And it was just like the moment where it's like, oh yeah, this is this is real. Like you see it. And it's one thing to like put out a song and and like see the numbers doing okay and stuff like that, but then like real life, though. Yeah, in real life. That line, that line was it. Bro, it was insane. Yes.

Um, so yeah. How about your favorite, or not even your favorite, just a summer story? Something that sticks out. First thing. Hmm. Yeah. It's kind of nice. Um you need to settle this. Favorite summer story. Just a summer story. A summer story. I don't want to throw you off with the word favorite. So um we did this performance at this tree house in Atlanta. Um, to it was a full live version, live performance of her clear EP, the first one. A tree house performance? Yeah, it was in a tree house. She was in the tree house? Yeah. And the people were on the ground? There was actually no people. It was just but we shot it live. Oh, okay, okay. No fans. Okay, we could do that.

I know. Live from the tree house. We're talking about Should we, should we steal their idea? There's a great tree house. I could tell y'all where Can you put us on? Yeah, for sure. Do you mind if we take that? No, and do a live performance segment? We've actually used that tree house twice for two different things. Okay, we're gonna be using it week every week. We're going to be using it Every fucking week. Y'all gonna be like, isn't that the tree house from summer's clearing? Don't worry about it. We're gonna redecorate it. All right, sorry. So you got the the uh tree house. Yes. Um I just love moments where where you just get to get mind like blown away by the talent. It's it's gotta remind you why you're doing any of this. Exactly. It's like it just it's like it's inspiring. Yeah, you just you're you're reminded of why you want the world to recognize this this artist. And so I definitely had that moment watching her perform at that tree house. That's crazy that it's like just a live performance that you know, yeah. Because like I understand the whole like sold-out show, that but like just her performing the song, doing her thing, performing the song at like a curated set that you helped like set up, like you wouldn't think, you know.

Moving right along, what is one business lesson that changed the game for LVRN? Something you just implemented and shit started to shift quickly. The theory was focus on the soil, and so at a certain point of time in the start of the company, we everything we did was focused around how can we put as much support behind this artist as we can, which is still what we do. But I uh at a certain point, a friend gave us the advice to focus on the soil of the company and and focus not just to focus on the trees, on the trees, but also focus on the soil and like really making it as rich as possible. But like once we kind of shifted that focus to being more about how we represented the company, how we approached storytelling, how we approached artist development, everything else started to make sense. And and it started to, we started to become a business, a company that artists wanted to be at rather than us chasing the artists all the time.

Makes sense. So like long-term plays. Long-term plays, yes, yes. Investing in the future. Yeah. Not Just focused on tomorrow. Yeah, investing in, yeah. Like build it and they will come type. Yeah. Yeah. And just like what makes y'all different? And you know, what's your superpower and different? You know, because it's almost, I mean, we even talked about this with like Gary Vee. It's like I love companies and and like, you know, brands or whatever, that everything that they stand for that they claim that their audience should stand for, or that in your case that you claim your artist should stand for, it's like y'all are already doing it too. Yeah. You know what I mean? I feel like y'all have been so good at storytelling, even the LVRN story, that it's like, okay, yeah, of course we can apply this to Summer Walker. Of course we can apply this to, you know, the next artist that signs to the roster, right? Because look at look at to your point, like the foundation we've built and how like true we are to ourselves, and how much we know like our own company and our own style and like our own message. Of course, we can translate that to you guys, you know what I mean?

Yeah. So that's what I see from like the outside looking in too. So appreciate that. Yeah, man. What is something you've been meaning to do, but just haven't got around to yet? That's a good question. Um we all have something. Yeah, we do. Man, eventually, I don't know exactly what it looks like for me, but my theory at this point is that I'm eventually going to like teach college kids about the music industry and write books about it. Ooh. Ooh. Interesting. That's my new theory. Yeah. Oh, I see where your head's at. Yeah. Just we might talk about something after this. Yeah, we're just potentially we're planning some stuff that is at a local university and has to do with teaching kids the music business and things of that nature. So that it does. That was pretty much the gods being like junior. junior, junior. Yeah. This is why you had him on the podcast. Anyways. Sorry, Henry, go ahead.

Last one of the short answer. This is a new segment called How Many Times Have You Said It Today? Oh God. Your word is damn. All right, shit. Um I'ma say 15. 15 dams. 15 dams today. That's about right. That's probably I'm right there with you. It sounds like a lot. But yeah, you know, damn, damn, like that can sneak up. Damn can damn near be in damn. Damn near. You know? Anyway, part two is the this or that. I'm gonna give you two choices and you pick one. Let's get into it. Let's go. Starting with rapping or singing? Uh rapping, bro. Um I'm a hip hop guy. Drums or melodies. Ooh. But then I'm gonna say melodies. Ooh. Interesting. Drake or Kendrick. Kendrick. Oh. Oh no, bro. Drizzy cooked his ass. Shut up, Ben.

In the studio or at the show? At the show. Show. Margarita or old fashioned? Old fashioned. Good answer. Yeah. Hard work or raw talent? Hard work. Pirates or ninjas? Ninjas. And finally, become a full-time rapper or leave the music industry. Oh, I'm out. I ain't got no bars. Junior does not have bars. He's got bars like for the youth. They're just not rhythmically on beat. Yeah. They don't rhyme. No. They might. He's got bars, though. Accidentally. Yeah. Different type of bars. Anyway. Different kind. Different kind of bars. Yeah. The last section is the word association. I'm gonna say one word. You just give me the first word you think of off the top of your head. There is no correct answer. You are only judged on speed. Right. Starting with hip hop. Bars. Fish. Fried. Motorcycle.

Fast. Snowstorm. Snowmobile. Casino. James Bond. The letter Q. Wow. That shit just stumped the fuck out of me. What do you when you see that circle with the slash? What do you? Yeah. What does that do for you? We get it. Quick. We get that's how you draw the Q. Ironically, the quick took a long time. Yeah, that was right. That was not quick, Junior. I'ma just call it what it is. TikTok. Great tool. Studio. Booth. Lil. Wayne. Love. Renaissance. Let's go. This has been LVRN Love Renaissance's head of touring and operations, Junior. Thank you for coming on the podcast, man. As always, please like, comment, and subscribe if you fuck with this interview. We're here each and every week. Follow us on Spotify Podcast. Follow us on Apple Podcasts. Leave us a five star review if you fuck with us. Henry, until next time, what are we doing?

Getting out of here. Getting out of here. Peace.