Transcription
Many artists think the difference between where they are and where they want to be is either talent or luck. It's not. It's storytelling and marketing.
There are hidden cheat codes surrounding the world of music marketing. There are techniques the biggest artists in the world use to build audiences of millions. These artists get six figures per show and travel the world showcasing not just their music, but their taste. They have the houses, the cars, the toys, the bank accounts, and more importantly, the resources to keep growing their projects year after year.
If you want to play in the pros of the music world, you're going to need real knowledge of where storytelling meets marketing and a clear plan of the tactics you're going to use to grow your project. Unfortunately, music alone will not get it done in today's world. You need a proper story, identity, and a plan.
In my world, most of what we talk about is story, brand, identity, and communication. In the broader music industry, all of this gets flattened into one word, marketing. There are so many different marketing techniques and ways to use time and money trying to get your music heard. Over the years, I've seen them all. I've seen millions of dollars wasted on the wrong path. But I've also seen artists go from being semihomeless to multi-millionaires just by mastering one technique. And this is exactly what I'm going to talk about today. I'm going to give you my top 10 key insights when it comes to music marketing.
If you want to create a cult following of fans and build the creative life you seek, the insights from today's topic could be crucial in walking up the mountain toward your dream. So, who am I to even talk about this subject? My name is Chris Alba and I've worked on all sides of music for the last 20 years. I've been an artist, a producer, and a DJ. For a full decade, I was a concert curator doing weekly shows with thousands of people every week in Los Angeles during the boom of EDM. In the 2010s, my wife Lindsay and I owned clothing stores up and down the California coast, and we styled many a music video, photo shoot, and album cover. 12 years ago, I founded my creative agency, The Cole Creatives. We focus on creating clarity surrounding storytelling, brand, and marketing strategies. We help artists get ultra clear on the story they're actually trying to tell, how that story lines up with the music, and then building plans surrounding execution to bring that full concept, what we call the movie, to life.
Over the last 12 years, we've done tens of millions of dollars in business and have helped craft strategies and execute creative campaigns with some of the world's most well-known music artists, record labels, and music festivals. We've also been on the ground floor with many artists helping build their brand story and growth strategy from day one. So, because of these experiences, I've had a front row seat to a massive range of campaigns, strategies, and launches across the industry. I've seen what works and what doesn't, and what looks good on paper, but never actually delivers the results. And with all these unique experiences that I've been blessed to have, it's given me perspective. And I don't think my perspective is better or worse than anyone else. I've just seen what I've seen. I've been able to experience the industry from a lot of different angles. And with those experiences, there are some key insights that I found that could save you years of trial and error and save countless marketing and content dollars from your artist bank account. These insights are what we're going to get into today. So, let's dive in.
Insight number one, brand is greater than product. They say it only takes one song for an artist or one product for a company to blow up. And while that can be true, in my experience, the brands that I've been a part of from the ground floor that have become massively internationally known brands all had one thing in common. They always put brand first. And what do I mean by brand? It's the story, point of view, mission, rules, values, principles, and beliefs of the brand. This is why a core part of our work at Colt is getting the foundational elements, values, and story ultra clear on any brand that we work on. These elements should become the guiding light on everything a brand does. With this level of clarity, you're making decisions not based on if something's cool or not. You're asking, is this in alignment to my brand? And in my world, it's black and white. If an artist is clear on these elements and is game for the advertising and promotional part, they usually grow at an exponential rate versus artists that are unclear and play the game of throwing a bunch of ideas at the wall to see what sticks. Most of the videos on the neighbored art supply channel are filled with exercises and organizational tools to help flesh out these elements. So, it can be good to watch those if you're unclear with any of these elements for your own brand. The main reason most of the larger artists that we work with are hiring myself and Colt is they have a sense of these elements, but they want to get clear on each piece so they can attack all sides of their project with clarity. If you're clear on your brand and its story and you have an audience of people attached to it, it's okay if you have a song or even an album come out that maybe the audience doesn't resonate with because they're connected to the brand. They'll likely stick around for the next one. This is different than the one hit wonder stories where the audience loved a song or two, but then there was no brand to back it up, so they quietly faded away. A well-built brand can do so much of the heavy lifting when it comes to marketing. A confused brand will always struggle with the marketing, even if the product is incredible. For example, look at Steve Jobs and Apple. Jobs and his marketing agency sold the story and idea of think different. Rebels fighting a system and thinking differently. The storytelling, visuals, and messaging was so strong he could have put almost any product next to it and it would have worked. Seth Goden, one of the greatest marketing minds of our generation, says, "Marketing is no longer about the stuff you make, but the stories you tell." This is why it's crucial to have the movie and story to go along with the soundtrack that is your music. Without the movie portion, the audience is hearing the music, staring at a black screen, or worse, if the story is confusing, they're watching scenes in a movie that they don't understand, tied to music that they may actually like, but it all feels disjointed. The music artists that are your personal heroes spend time with the stories surrounding their music. It's par for the course with legendary music acts. If you want to connect in the way that they are, you need to put brand and story at the forefront of your marketing conversations.
Insight number two, from I like this to I am this. When someone wears a t-shirt with your logo on it, they may just be saying they like your music, but more than not, it's actually a way for someone to signal to the world that they identify with you and your artist brand. They identify with it so much that they're willing to be a walking billboard for you and your project. Artists are groups with great music who have done their job with their storytelling, branding, and properly conveying what they stand for are usually the types that get people wearing their merch. Artists who can sell merch are on a different level. And to go further with this identity concept, think about the power of naming your community. Lady Gaga has her little monsters, Taylor Swift has her swifties, Elennium has his Elenials, and Slipnot have their maggots. People want to be a part of something and we often use our art tastes, music, shows, movies, designers to form our own identity. The person would subconsciously think to themselves, I'm this kind of person. I like this kind of thing. It's a huge psychological change when a person goes from a casual fan who likes something to making it their own identity. To go from, I like this to I am this. I like Taylor Swift to I'm a Swifty. So much of branding and marketing is community building. You're a community leader and how are you showing up for your people? What are the rituals that you do together? What are the symbols surrounding the brand? How do you showcase your like-minded taste with the audience? The artists with the largest followings know the answers to these questions or they've hired someone like me to help them answer them. But the more you understand that people will use your brand for their own identity and then stepping into the responsibility that comes with that, the better marketer you'll be.
Insight number three, taste is the brand. Real branding is taste. It's your point of view. It's the consistent decisions you make over and over. What you choose to align with, what you ignore, what you say yes to, and what you turn down. Every artist you admire has a clear sense of taste. When you look at their career from the outside, there's a consistency to the choices they've made. That consistency builds trust. This taste shows up everywhere, not just in the music. It's the artists they collaborate with, the visuals they put out, the clothes they wear on stage, the clips they repost, the brands they partner with, the venues they play, and even the trends they decide not to get involved with. Every one of those decisions quietly tells the audience who they are. And over time, people aren't just consuming the music, they're trusting the judgment in taste. We follow them because we believe that if they're involved, it's probably worth our time to check it out. This is why the artists that try to appeal to everyone in the beginning end up resonating with very few. Strong brands are opinionated. They have flags that they've planted in the sand. This is what they represent. This is their taste and they curate the details of their world carefully. The more consistent your taste is, the more your audience understands you without you having to explain yourself. If you're ever unsure about what your brand is, have a journal session about it. Ask yourself questions as though you're a fan. Ask questions about the consistencies of the brand. What are things we always do. The more you know about yourself or yourselves and you know your taste, the easier marketing becomes.
Insight number four, how something looks is half the battle. So, we have a bunch of other videos on the Neighbor Art Supply channel that get into the weeds of visual identity and art direction as it's a core pillar of our process at Colt. But why is the visual identity so important? Can't the music just be good and that's enough? As I said at the top, for me, I don't think it can for a rare rare sum. Yes, music can be enough, but for most, you're going to need a visually compelling identity to go with the music. As an exercise, let's go back to your favorite music artists. Think about your top five favorite music artists. When you think about them, aren't you getting hit with both audio and visual memories, album covers, live performances, photos, and content videos. Human beings build relationships with people and things. Bonding is a part of our primal human needs. These bonds inform our memories. When we experience something new, like meeting a person or seeing a brand for the first time, our subconscious brain is asking all kinds of questions and asking them quickly. Do we care about this? Are we connected to it in any way? Does it serve our identity? Or is it worth our time? And very often, how something visually looks will be the first line of defense for those judgments. Even when you hear a new artist on a playlist and you're curious to learn more about them, you usually go to one of the platforms to see, and the key word here being see, see more and learn more about that artist. That first impression moment is crucial in starting to build the bond with the person that's experiencing it. And how something looks does a lot of lifting in terms of deepening the curiosity from the consumer. So, quick story, one of my early music mentors was Skrillex. He randomly lived across the street from me and his manager knew my manager and we were booking him in the side room of our party at Avalon. But he and I would have discussions about brand and visual identity at length. We talked about how we liked artists like Justice or Dead Mouse or Excision and how they were presenting their brands. And then we talk about presenting our own brands. With Sunny, he has background in the pop punk and rock world, but he also loved underground UK bass music like drum and bass and dubstep. When you listen to something like Scary Monsters and Nice Sprites or his remix of Cinema, you can feel all of his sonic taste being fused into one track. There was the pop flavor, the rebel and punk attitude, and the unique bass music sound design. But when you saw the single art of his music or photos of him and his styling, the way he looked against the way the music sounded, the visual identity and the visual language match the music. It fused together references from bass, electronic, rock, punk, and pop. The visual identity is the packaging that houses the story and the music. The brand should look like the way the music sounds and the story that's being told. If all of these elements line up when it comes time to market, half the battle's already been won. And the one thing that I found experiencing all kinds of music branding and marketing is that where the artists really struggle is their conviction around being consistent. They struggle in their commitment to their governing rules and their principles. But it makes sense that this would be one of the top struggles artists would face. Artists are creative people and part of creativity is imagination, freedom, and the ability to chase down random ideas. They use their taste of is this good or is this cool to make decisions. And we as art consumers, we want that from them. That's why we're fans. But chasing down all kinds of creative ideas and concepts every day makes it hard to switch into a world where there's rules and the sandbox you're playing in has walls. But to create a strong brand, these rules and boundaries are everything. Think of your favorite shows. Don't you have a rough idea of what you're going to get when you tune in? Same with your favorite movie franchises. What about your favorite artist or band? They offer you new music, but there's a level of consistency there. Your subconscious thinks, "The artist always does this. I can expect that from them." So, this is where the clash happens. Artists hate being put in boxes, doing the same thing, working in the same universe filled with constraint. But this is the difference between painting to paint and building a brand that can sell paintings, products, or open galleries. Neither is better or worse. It's the choice of the maker and what they want to do with their art. The majority of the videos on the Neighbor Art Supply channel are for the latter. People trying to build a community and then engage that community in a variety of ways. And a huge part of the consistency a brand can showcase is in the way it's presented. Look at Stranger Things season 1 and Stranger Things season 5. Kids are older, but the way the show looks is extremely consistent. We, the audience, know what to expect from the brand. And then look at a band like Kiss in 1974. And then look at them in 2024, 50 years later. Same look, same brand. They had a set of rules and principles for the brand of the band. And they stuck to that for more than 50 years. That's commitment. And their signature look is part of why your brain remembers them even if you didn't like their music. And that look was half the battle of their marketing efforts.
Insight number five, stand on existing stages. Many artists when they begin emulate their heroes. That's what I did and that's how 99% of people start. But as you find yourself in your sound, there's a craving to create your own songs. You start asking questions like, "What do I want to say with this? What is my music all about?" With these questions comes a craving to create completely original offerings. Do something from scratch that's never been done before. Which this feeling I 100% understand and I empathize with that for creative people, this is an itch that needs to be scratched. But something I've seen in so many creative fields over the last 20 years is I've seen artists struggle to sell their completely original ideas. Music artists whose first offering is a full album showcasing all sides of themselves with sounds that you've never heard before or clothing designers that create collections containing never-before used materials and silhouettes that are innovative and unique. But often these artists will struggle to grow their initial communities around those offerings. Why is it because people are close-minded to new things? Maybe. But from a psychological standpoint, part of why it doesn't connect is because there's no previous reference in the mind of the viewer or listener. They don't recognize anything familiar in the work. And for that reason, it gets put in the this doesn't matter to us category of the mind. And then on the flip side, what I've seen over and over again with music artists, designers, filmmakers, or product companies is that the ones that start by building on platforms of already successful things have a much shorter runway to success than the former group. In my world of electronic music, 90% of the big artists I watch go from 0 to 100, made an official remix, a bootleg, a sampled song, or a cover to get it all going. That's what brought in the initial audience. Then as their profile grew, they then started introducing original works and concepts. Now there are absolutely exceptions to the rule here. Porter Robinson's first single, Say My Name, was an original and it was self-released. No remix or sample or well-known label pushing it. So it can happen, but this is a rare case. But what I saw work over and over was opposite to this. Artists that would build their early followings off of reputable references and other platforms. Another example of this could mean releasing early music with a trusted record label or via a trusted channel that already has a specific audience. You're building your stage off of stages that already exist. And I saw the same technique in the corporate and product world. A few brands we worked with wanted to rebrand and change their image to fit a younger demo. And part of the technique that we employed was attaching their brand to other brands and known individuals who had a good reputation in the space that the brand wanted to exist in. That familiarity and alignment helps educate the audience on who the brand is and what they care about now. It's a huge part of what helped bring Adidas back to the forefront of the conversation in 2014. To attack a newer audience, they created brand partnerships with Rihanna Farel, Rick Owens, Yohi Yamamoto, which is Y3, and Raph Simmons. By attaching the brand to cool artists and cool designers of the time, it reshaped how people felt about the brand. It was a repositioning. They built their new platform off the platforms of already reputable brands. Building a platform on the platform of others is marketing 101, but it's something that I think when artists are super close to their projects, it's not a path that they typically see. But for me personally, this has been a key insight and it's helped me craft marketing strategies that we've employed with our clients over the last 12 years. So don't be afraid to build your stage on existing stages.
Insight number six, nothing beats word of mouth. So, think about movies that have these huge marketing budgets. They have the billboards, the TV commercials, the actors go on all the talk shows. There's activations and experiential moments. The awareness is there, but then ultimately people aren't really feeling the movie and it flops. Millions and millions of marketing dollars spent when the product itself didn't really hit. But on the flip side, what about movies that have smaller marketing budgets, but they create moments that people talk about? For example, when the first Paranormal Activity movie was being promoted, instead of showing scary scenes from the movie, the advertising trailer on it just showed night vision footage of audiences reacting to the movie. No scene shown, just the emotion of the audience. This one marketing tactic took a movie that had a production budget of less than $20,000 to a worldwide box office of 193 million, one of the highest ROIs in movie history. people who saw the trailer, talked about it with their friends or significant others, and wanted to see what all the hype was about. Not more expensive, more creative. Or look at some of the promo for A24's movie Marty Supreme. So, the marketing budget for this one is larger than a paranormal activity, but nowhere near a superhero movie or tentpole IP franchise. One of the tactics to get people talking was a staged fake Zoom call between the film's lead actor, Timothy Shalamé, and then the A24 fake marketing team. In that Zoom call, Timothy presents Kanyeesque outlandish marketing concepts to the team with wild high- energy philosophical ideas. They posted it as a leaked Zoom call and sent it to a number of media outlets to do the same. Half of the audience knew that it was a marketing play and a way to drum up some press and the other half believed that it was real. The debates ensued in the comments and I personally had five people send this to me. Three of those were marketeteers talking about its brilliance and two of them were friends who thought it was real and sent it to me for entertainment value. The key takeaway here is people were talking about it. And this was another idea that wasn't expensive to make. It was just more creative than a typical marketing campaign. Word of mouth is hands down the best marketing there is.
Insight number seven. Go to the people, don't make the people come to you. No matter how you feel about Elon Musk as a person, from a marketing perspective, the way he launched Tesla was absolutely brilliant. The standard model for creating a new vehicle offering in the US was creating dealerships in different key cities around the country and offering your vehicles there. People would need to go out of their way and drive to the dealerships to see and test drive new cars. But when Elon brought Tesla to market, he did something unique. He put Tesla stores in key malls throughout the US. Very often he would put a Tesla store near a luxury store like Louis Vuitton or Gucci where the man or woman who could afford a $100,000 signature performance Model S was already hanging out. He went to them and placed his offering where they already were. We've worked with music clients in the past who were keen on building a following with younger Gen Z fans, but their primary form of marketing that they were using was Instagram posts and Facebook ads. If you're going after a younger demo, they're not on Facebook. You have to go where they are. And a big part of all this is having an idea of who you're trying to build with, what kind of demographics. In the marketing world, there's exercises where you build personas. These personas are what we call who's coming over for dinner. Who you're having over for dinner may define what you cook. So these individuals would be the target that you're trying to market to. Before creating the personas, you're asking yourself this question. Who do you want to be part of your community and why? Then once you have a sense of this, you're asking these questions about each individual persona. What kind of person are they? What kind of interests do they have? Who are their cultural icons? What cultures are they a part of? What kind of jobs are they working? Where are they from? What do they struggle with? And what do they care about? We built many personas through the years working with various brands and companies. And the more you know, the better. But the key takeaway here is the more you know them, the more you could guess where they might be. And once you know that, go there, hang out with them, and offer them your art. Go to your people. Don't make them come to you.
Insight number eight, stack the odds. So, another quick story from my own life. In my mid20s, I started throwing and DJing parties in Los Angeles and Orange County, California. I was a kid from a small town in Pennsylvania and had little promotional experience. My friends and I saw how the other local promoters were throwing their events. They would hire what was called a street team. So, this was a group of people who would take paper flyers out to various clubs, shows, and events and then hand them out to people that were leaving. At the time, we didn't have any kind of financial backing. So, we thought we would just become the street team ourselves. We booked a venue and then put ourselves as the talent on the lineup. We created a flyer, got a bunch of versions of that printed, and then we set out into the night to promote our event. For weeks, we went out every night talking to people outside of clubs and venues, telling them that we were going to have this party and that it would feature new sounds and a unique vibe against the standard clubs and shows in LA. We passed out thousands and thousands of flyers. And when the night came, only 10 people outside of our friend group showed up. There was maybe 40 people in total that came, but most of them were tied to us or our friend group. And this was in a venue that fit about 150 people. So, we were bummed. It was a terrible feeling throwing a party, working hard to promote it, and no one shows up, and you feel like you failed. But that moment taught me a very valuable lesson. See, we thought the people that we met would just like us and want to come see us perform. But almost everyone we met on the street didn't know us. There was no reputation, no previous relationship. It'd be like getting invited to a random person's house who you've never met to hang out and listen to music. So, we huddled up and decided to try again. But this time, I had the idea of what if we tried more than one method to try to get people to come to the party? What if there was multiple avenues of promotion to get people to the event? I thought to myself, some people did come, but it was mostly our friends or the photographers's friends or the bartender had a couple friends stop in. It was friends that were tied to the people throwing the event. There was already an established relationship there and there was trust with the people that they knew. So the next event we decided to do as an art show with music. I decided to stack it with people who had a bunch of these relationships and we didn't have this term then, but I attached people to the event that had influence influencers and these people had relationships with other people who trusted them to know what was cool. So, at the time I was living in a warehouse loft in downtown LA with some roommates who were all studying architecture at SCARK, which is the Southern California Institute of Architecture. So, I asked my roommates if it'd be okay if we could throw the event in our loft space, which outside of the rooms almost looked like an art gallery already, and it had a beautiful rooftop deck with a small bar that overlooked downtown LA. Roommates were cool with it, so we were off. I booked a dozen local artists who were friends of friends and already had small followings. I booked local DJs outside of just ourselves who were known DJs with residencies all over LA. We created multiple rooms for music and booked 24 DJs altogether with two known headliners, artists with bigger followings. I added bartenders and barbacks who had good hang vibes and had groups of friends of their own. We had a local clothing company doing live screen printing with limited shirts for the event and they brought their friends. We even paid to have the flyer featured in the LA Weekly, which was then a local newspaper that would let people know about events in the LA area. For the size of my loft and what we were spending on the party, we needed 150 people at $8 per person to break even. On the day, everyone who was involved in the event promoted it on their socials, MySpace back then, and invited their friends. Through the course of the event, we did almost 800 people altogether. People saw the art, they got some drinks, and they danced a bit. The energy of the party was incredible. all these creative people working together to make a moment showcasing so many different art forms and having a blast at the same time. I was hooked and I learned that the more methods you have to get people to hear about the thing that you're promoting, the better. Cool people know cool people. We use this strategy for every event we did going forward. Our events got bigger and bigger and we eventually took residency at the Avalon Theater in Hollywood where we were doing a thousand plus people almost every week. We used the same type of thinking for every event we did. We had multiple rooms all over the venue so we could book a large lineup of artists who all had their own followings. We partnered with record labels, clothing lines, and we were relentless in hunting down the next wave of talent and the new sounds in electronic music. We looked for artists whose music we loved, but also had a draw. We used every marketing tactic available to get people to hear about our events. We used the street team, email blasts, SMS, paid ads, print ads, PR, digital marketing. We made promotional videos and we brought in promotional groups who had their own followings. And we made sure that every event we did was branded in the same way. Same look, same feel. So the people always knew it was us and they knew what to expect. And although at a certain point the party was so successful that if we had the right headliner, we could have turned everything else off in terms of promotion. But my own paranoia made me push to always have these different promo methods to get people to come. Actually, a lot of the nights I would show up to the venue and walk around just to see what elements were being set up and I would have these feelings like no one's going to come. This is going to be a dud. I subconsciously knew that that wasn't true. But that paranoia was always there and it kept me sharp. So, you may be thinking, Chris, I'm not trying to throw parties. I'm a music artist and I want people to hear my stuff and I want to grow my audience. And I hear you. But the reason that I tell this story is you can apply the same approach to what you're doing now. If your music is good and you're doing a few posts a month on one platform that may get a few people to come to the party, but what if you approached it in a different way? What if you threw everything you could at the promotional side? You took the time to develop a real rollout strategy and plan and that tied to a strong story and brand identity around your high quality music. You use multiple tactics with a variety of content offerings to get people to know about you and your art. You hit it from all sides. What do you think would happen then?
Insight number nine, digital is good, experiential is better. So, we live in a digital age and there's nothing that can change an artist career faster than consistently going viral. But let's think about this in terms of relationships and how the mind forms relationships. When you're building a fan base, you're building relationships. You make things and share things digitally and then people develop digital relationships with you and your art. Think of it as chatting online. The more digital time you spend with one another, the more a bond will form. Just like real relationships, but how much does a relationship change and how much more bonded do you become when you hang out and you have an experience in person? You share a moment in the same place experiencing the same thing. It's why concerts, shows, and festivals are as powerful as they are. We are experiencing in real life, not digitally, a different kind of bond and connection. And that's what this whole thing is about. Bonding people together through music, storytelling, and branding. I often preach about the power of digital content and how that's the primary vehicle for growing your audience, but nothing will bond them more to you than real life experiences. In terms of strategy, once you found the brand and campaign and the concepts good, take time to look at how you can create realworld experiences. Even if they aren't big, what can you do for the audience? Could be a small popup or unique listening party, but it gives you a chance to be with your community and bond to them. And the best thing with these events is it's more the real fans that actually come. So any opportunity that you can create for experiential marketing, do it. It's one of the most surefire ways to build a real relationship with the people that come.
Insight number 10, things change. Adopt early. So something I've noticed with many music artists and creatives is that once they figure something out, they like to continue to use those same techniques to create going forward. And this makes sense, right? These techniques end up making up your style and that's where you feel comfortable. So why not do more of it? But when it comes to marketing specifically, there's one unfortunate truth that exists. No matter what, marketing methods are going to change. No matter the time you spend learning one platform or one technique, there's going to be a new platform and a new technique right around the corner. Something I noticed working with the bigger artists in their teams is they're always early adopters on new methods and techniques. They make it their business to be so. They've seen how successful they could be being early adopters on new community platforms, and they continue to do it over and over. They look at it as a new way to tell their brand story. This doesn't mean abandoning the past as soon as the new thing comes along, but it's a willingness to be open to trying new methods and exploring new avenues. I mean, Paul McCartney from the Beatles has a Tik Tok page where he does selfie videos and breaks down legendary stories from his Beatles experience. Paul McCartney does not need to do this, but this is the kind of mindset that I'm talking about. He's open and willing to try to connect and communicate in new ways. And Paul isn't doing dances or trying to act young. He's just being himself and using the native style of the platform to communicate his stories. So stay open and look at early adoption as an opportunity to try. Even if a platform fails or it doesn't become one of the ones, it's still a good exercise to make the attempt, you'll learn from it. Because remember, it only takes being right a few times in your career to create an insane legacy. It's more about the mindset and approach.
So, I hope some of these insights were valuable to you. I love artists. They're my people. So, I want to make sure to share the knowledge that I've gained, and so many artists I know load the marketing side. But, I'm here to tell you that marketing, branding, and storytelling can be just as fun and creative as making music. Every concept is an opportunity to express and connect with other like-minded people. And if you need help with any of these elements with your own brand and you want to work with us directly, you know where we are. All things the cultreatives, the cultreatives.com. But until next time, good luck in all your pursuits and I'll see you soon.