Macklemore & Ryan Lewis European Tour Diary 5

“Fame is a fickle food
Upon a shifting plate
Whose table once a
Guest but not
The second time is set.
 
Whose crumbs the crows inspect
And with ironic caw
Flap past it to the Farmer’s Corn –
Men eat of it and die.”
 
Emily Dickinson

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I’ve been thinking about this quote a lot today.  We’re in Belfast Ireland, in the final week of touring before we head home to the States. We finished up touring mainland Europe, and we are now circling back through the UK, to end our final show in London in a couple of days. Today was a significant day for our tour.  Even more so for Ben Haggerty and his wife Tricia.
Sloane just took her first steps, Macklemore’s baby daughter, and the world exploded.  Ben joked on stage tonight that he would never leave Belfast, since it was the place his daughter first learned to walk.  The 9,000 people in the arena freaked out, and everyone blasted their social media.  I remember back in the day, when people held up lighters at concerts….. now its cellphone lights.  What’s worse is that a lot of people at a concert are watching the show through the digital screen of their phone… and never fully engaged.  Instagramming, Snapchatting, Tweeting, Facebooking…
Macklemore tours with a lot of media crew. Photographers, video cameras, iPhones, and more are always following him and Ryan around as they peruse different cities, prepare for shows, do interviews, and relax backstage.  Their private and public lives are always being covered and recorded.  Every moment, every selfie, every tweet is scrutinized to be perfect, provocative, shareable, and interesting.  But for them it is a business, and for a lot of artists, mastering the art of social media is an important part of their brand and business. But when is sharing someone’s private life over sharing, narcissistic, or voyeuristic?
We are in an ‘attention economy.’ I wish I came up with this phrase, but I didn’t:  Bob Lefsetz did. For those that don’t know, Lefsetz is an American music industry analyst and critic, and I’ve been reading his writings for a while. Lefsetz pointed out recently about the music business:
“The paradigm remains, in today’s economy, attention is everything. It’s what we all vie for, especially on social media, it’s fleeting, but it precedes monetization. In the old days distribution was king, if you couldn’t buy it, it didn’t exist. Now everything exists, how do you make people aware, how do you get them to sample? That’s the question.”
But this system isn’t just musicians and the music business… everyone wants to be famous and validated nowadays through their social channels.  They want to show they have a fabulous life, and are beautiful, and etc….  Everyone in the cast and crew of this touring show is guilty of this.  We sit on social media most of the time, hoping to see more likes, or more people following us. Trying to post glamorized pictures of our lives on the road.  I’m guilty of this as well.  I want more validation, and people commenting on my curated life.  Instant gratification. Easy to achieve dopamine rush. When I see people back home, they think my life is crazy,
and amazing… but it is curated and perfected, and airbrushed.  I tend to leave out the mundane and nasty details on my Instagram feed.
Fandom, seems to be at new levels nowadays as well… or maybe super fans now have the tools to really stalk and be consumed by their obsessions.  I’ve seen the full gamut with M&RL fans, from the respectful and appreciative, to the obsessive and intrusive. I’ve seen some fans go to the extent of using derivations of Macklemore and Ryan Lewis’ names as their social media account names, and then go on to post intimate photos of their idols.  But when is it too much or too intrusive? I don’t see it as very respectful, but then again I’ve never had my own fan group.  The Macklemore team does a terrific job of trying to foster a positive relationship with their audience through social media, because they rely on that relationship. Any successful business today would.  Fans are ultimately consumers.
Years before being in Belfast, Sloane, and the release of ‘This Unruly Mess I’ve Made,’ I remember being in the Staples Center in Los Angeles, during the Grammy Awards ceremony, when Macklemore won multiple Grammy’s for their first full length record, ‘The Heist’ – and feeling the intense level of claustrophobia from it all. The world was watching them…. incredibly closely…. and it was all being broadcasted.  Of course it was exciting, and colorful…. but it was also ludicrous and fake.
I appreciate the fact that Ben honestly reflected on this experience in his song, “Light Tunnels,” which I helped co-write for the new record. He raps:
“Watch celebrities take selfies with celebrities…..
They want talking topics, they want trending topics
They want outfits to be outlandish, they want sideways glances
Beef and problems, they want nipple slips…
Cause they live for clips, this is economics…
This is America insecurity’s our fabric
And we wear it and we renamed it fashion…
This feels so narcissistic, dressed as a celebration to conceal it’s a business…
But I don’t like who I am in this environment
I forgot what this art’s for….”
I had a different take away from that entire experience, essentially since I wasn’t at the center of it all:  I was an outlier looking in.  But I’ll admit a part of me wished I was in the middle of it. Even despite all of the insanity – I wanted that validation and attention too.  I wrote my song, “Plastic Heaven’ from my upcoming record about this madness, and sycophantic nature of celebrity existence… and how we all want it, and dream about it. I even used a little bit of the Emily Dickinson quote from above in the lyrics.
In the end, I’m not sure how I feel about sharing so blatantly public something as personal as your own daughters first steps in this life. I don’t judge Ben and Tricia for doing this – their lives now are not entirely their own… they are the property of their adoring fans, the media, and the world. We all live in this crazy world – but at least now we can photoshop out the bland and mundane looking parts.unnamed-1

Macklemore & Ryan Lewis European Tour Diary 4

2016-04-27 13.59.31 The French countryside at night is racing by outside the dark tinted windows surrounding me. The amber street lamps of Montpellier, France, stream by as we drive our tour bus tirelessly towards Milan, Italy. Miike Snow’s song Genghis Khan hums quietly through the blue tooth speaker to my right. 3:45 am — everyone on the bus is asleep except for me and the driver.

I’m thinking about something that Hocine (French dancer with the Massive Monks), told me a couple days earlier when we were in Paris.  The famous French singer Edith Piaf, was adopted off the streets of Paris in the 18th District, in East Paris in an area called Belleville. Back then it was a really poor ghetto area – Paris today is much more mixed. I’ve always loved Edith Piaf, and some of her sound helped influence the sound of my own album — just that European aesthetic and instrumentation. Now I’m feverishly looking up French artists to research and listen to: Georges Bassens, Charles Aznavour, Serge Gainsbourg, Leo Ferre, Renaud, and Yves Montand.
With our tour, there is 8 tour buses total. A couple for catering, production, management, security, video crew, a star bus for Ben & Ryan, and two buses for band and dancers.  I share space with my string player crew, the Massive Monkees (dancers), Zoe Rain (photography), Taylor (merchandise) and David Dalton (pianist).
Being backstage before and after shows is always a hunt for Wifi. Sometimes we are desperate enough to jump onto random networks just to try and check email or the internet.  Network passwords can be a bit of a commodity, with certain production wifi networks strongly guarded against overuse.  We all want to remain connected to the world outside of our bizarre little bubble.
On off days, I share hotel rooms with Eric Nally (singer for Downtown), and lead singer for the band Foxy Shazam, which is currently on hiatus.  In person he is a rather soft-spoken… but on stage he is transformed: he is magnetic.  He bobs and weaves, and struts during the encore for the Macklemore set, and brings a wild card energy to the stage…. you literally don’t quite know what he is going to do… and it almost seems like he will do anything.  Like I said… magnetic. Macklemore is charismatic, but Eric Nally is primal energy. One show he jumped on stage shirtless, with his nipples blacked out, and wearing pig tails. The crowd went insane with his bizarre, and angular performance.
When I pressed him about his vocal training, he told me that with his old band, he originally was playing an instrument, and the person who was supposed to sing was nervous about being lead.  Eric jumped at the opportunity, even though he had no training, or previous experience.  He literally just wanted to sing. He wanted to have a voice.
True rock stars are rare – untrained raw energy.  Edith Piaf was renowned for this.  She was pure passion unleashed… even a little unpredictable in its immediacy. Eric Nally has that same unbridled talent. Even if stuff goes wrong on-stage, notes are pitchy, or mistakes are made, the show goes on. It’s messy, and it’s real.  I have always fought against the strict and almost sterile environment of classical music (since I started off playing classical violin when I was younger), because it overly emphasizes perfection.  Even the original art of the cadenza, (which was supposed to be a improvised solo made by soloist during a concerto), is now archaic and removed from the current classical environment. Everything is scripted.
Weirdly enough, I actually really like it when things go wrong on stage. These moments are the most memorable, and the best to recount as war stories later on, but they are simply the most human and real. What I like about stage mishaps is that it’s a confirmation that we can get by if we make a mistake, and it’s not the end of the world, it’s only human. I’ve lived through so many mishaps of my own and the mistakes made by others that it’s not something that would ever scare me now. You just keep going, and most of the time nobody even notices. Or if they do, and you can include the audience in on the joke, it makes the performance even better. With jazz musicians, and really good improvisational players, mistakes are gems to be harvested and explored as a part of a performance… a ‘mistake’ becomes an opportunity for growth on stage.
This tour in comparison to the Heist World Tour two years ago is significantly more polished, prepared and relaxed – however everything is to a grid.  There are click tracks (constant quantized beat) for everything happening on stage, and everyone in the production is syncing up to this.  The giant LED wall, the pyrotechnics, the lights, the performers, the moving stage, and everything else is based on this strict timing.  There is a small margin for error and flexibility… but not much.
I remember being at SXSW a number of years ago, and the majority of the artists performing were laptop based, which was all digitally based, and with little room for humanity, or real immediate creation.  Audience members are groomed now to want the music performed at a show to sound as close to a studio recording as possible. It is all mechanical perfection.
In the end, I miss the true rock stars… the unpredictable, and the fantastical.  It has been a honor to share a room on tour with one, or better yet, a stage. 2016-03-27 15.58.36

Macklemore & Ryan Lewis European Tour Diary 3

2016-04-07 14.15.55-2Munich Germany. The spired skyline is bare of ugly skyscrapers, or any overtly modern architecture, and it’s wonderful to behold. I’m downtown in the Marienplatz, and just taking a moment to appreciate the life that I’m living on the road.  It is an incredible feeling to realize that your choices in life can bring you to any given moment… and realizing that chasing my life as a musician brought me here is almost overwhelming.  My life as a musician has allowed me to see the world. 
 
I love old architecture.  My Instagram feed is littered with filtered pictures of churches, castles, old concert halls, and beautiful city streets.  We don’t have this kind of old world charm in the United States.  Architecture reminds me of the structured beauty of music – from classical symphonies, to a well crafted hook in a pop song. 
 
When you write a musical album, it is a self-auditing process, where you are continually challenging yourself if a lyric, a musical phrase, a chord progression, or even an instrument choice is good enough.  Once you get into the mixing, editing, comping, and mastering phase… you are criticizing every pause, every high hat hit, every wave form, and more…. all which fall into millisecond spaces. In the end… you know your own art so well, that it’s painful.  You know its short comings, and you know its strengths… but you also tire of it all, and that is the most frightening aspect. I applaud any musician that gets to the end of the process of making an album, and still has the raw belief that their music is powerful enough that other people will want to hear it. 
 
My orchestral pop song, Mantra for a Struggling Artist, speaks to this inner conflict of most artists:
“Every notes a fight
That’s against myself
You’ll only hear it when
The battle’s  done. 
 
I keep coming back
To that distant love
Hoping that it won’t break my heart again.” 
 
When I was on tour with David Bazan, (Pedro the Lion), in promotion of our album, David Bazan and the Passenger String Quartet vol. 1, he told me that all artist’s need to have their hearts broken by the music industry. He criticized young artists that were instant overnight successes, who never really learned how to grind, and bleed for their art.  I worked as an A&R rep for a while, and saw many of these kind of artists, who were entitled, and felt like they didn’t really need to get their hands dirty.  Once their 15 minutes of fame were over though, they were ill-prepared to really buckle down and work for their art.  Like I said, the music industry is a heart breaker.  Ultimately it is the love of music that keeps you coming back for more and more, and wanting to continue down this almost insane life path. 
 
I don’t know if this is myth, or factual, but when asked, David Bowie said you know an album is done when the feeling is gone. Producer Jack Endino said you know an album is done when the money is gone.  I believe you know an album is done right before you can’t stand it anymore…. at least just enough so the magic is still simmering in it’s bones.  Writing an album is essentially raising a child:  you try and give them a good moral compass, instill good life lessons in them, clothe them, train them, and then eventually you have to send them off to college.  How they fare beyond that is out of your control.  With my own album…. I’m there right now…. I’m at the threshold where I will no longer have any control, and whether people like my art or not, is beyond my charge.  Essentially myself as the author of my art dies. 
 
The Death of the Author.  When do you let go?  When does the art speak for itself, outside of the context of the author himself?  My album is set to be released later this year, and while admittedly the album is technically finished (mastered, artwork done, ready to print), I’m still struggling with relinquishing control of my art to other people’s opinions and interpretations.  Really when you finish any piece of art, you have to get to a place where you are ok knowing that every reaction, interpretation, and impression is possible, but moreover – ok. Or, you have to be really good at faking your acceptance of it, no matter how much dissonance their might be. 
 
When Macklemore and Ryan Lewis released This Unruly Mess I’ve Made,  it was a great album, and in the scope of the discography of both of them as artists, was really well made and ambitious.   It also wasn’t just their album:  it was a Pacific Northwest album.  About 80% of Seattle musicians contributed their talents to the record, and I’m proud to number within those ranks.  When the album was released globally, it was judged incredibly harshly in our native United States. In Europe, I can see that people love it, and embraced it wholeheartedly, especially with the lead single, “Downtown.” Knowing that the record wasn’t as acclaimed or praised as The Heist was universally, is hard to sit with.  But then again, The Heist had its haters as well. 
 
That is what art is ultimately.  People have the right to react however they want to. I know that Ben & Ryan Lewis wish that TUMIM could have had the groundbreaking success story that the Heist had globally, but that was such an incredible journey all on its own… and it couldn’t have happen the same way twice. Like I said, their second full length record together is masterful and ambitious, and I’m proud of it. However, people are going to think what they want to think. I feel like US audiences were ready to hate it no matter what. The music industry is a heart breaker. 
 
I’m scared to release my album, and I can’t pretend that hearing negativity about it will hurt me deeply. All artists are uniformly sensitive, and most of us are probably just really good at faking and hiding that humanity. 
 
I just don’t know if I’m ready to have my heart broken yet. 

Macklemore & Ryan Lewis European Tour Diary 2

2016-03-09 14.39.58-2Shingles is one of those viruses that only effects older people… or at least you would imagine right? …well it supposedly is also fairly common in 33 year old musicians on a world tour, who are about to put out their debut albums.
Tour Plague started early this year. FML.
March 10 – Antwerp, Belgium.  Roughly 12days later, devastating bombings would rock Belgium by ISIL forces, and throw all of Europe, and our tour into a state of disharmony; however we are currently in a state of bliss right now: tour has officially started.  We had a number of days rehearsing, staging, working on rigging, etc. up in Wakefield, UK, and now we are finally in the mainland of Europe – we are finally doing what we came to Europe to do.
I’m in the final stages of listening, and re-listening to masters for my upcoming orchestral album, “Awake at the Bottom of the Ocean,” and right now having to deal with the overwhelming stress of figuring out how to release the album: publicity, marketing, management, distribution, etc. etc. As an independent artist I have to review and carefully pick my way through a campaign, and a team to help carry out a release… but ultimately there is no guarantee of success. You just try your best, and hope to maximize on opportunities as they present themselves.
When you compare my own individual project to the sheer scope of a Macklemore & Ryan Lewis album…. it isn’t a fair comparison… but inevitably your mind races to that juxtaposition.  The release of the ‘Heist’ was an unexpected storm back in 2012, and everyone on the M&RL team was swept up into the tornado.  It took over a year for me to emotionally process and unpack all of the experiences, and try and put them into perspective.  In fact some of the music on my own album directly reflects my own take aways from those experiences.
It’s hard to get away from an overwhelming feeling of ‘expectation for success’ with my association with Macklemore.  I’ve worked with so many artists over the years (from Judy Collins, Tom Chaplin, Duff McKagan, David Bazan, Grieves, etc.), that I’ve seen a incredible gamut of successful, and unsuccessful musicians. With my own album, I can’t help but have some grandiose dream of global success, and recognition.  It is ok to dream… but I also know that it is a mistake to put
too much faith into huge expectations.
When M&RL first toured the world with the Heist, I was completely taken by surprise by all the craziness we experienced, and I didn’t have anything outside of it creatively to help anchor me. At least for the release of ‘This Unruly Mess I’ve Made,” I now have my own album to help stabilize me.  Well until I developed a gnarly rash, accompanied by terrible pain.  I think my album is literally trying to kill me.
A music tour is like the town in the movie “Outbreak” waiting to happen.  If one person gets sick, it is inevitable that someone else will get it, and so forth.  When you’re in close quarters on a tour bus with recycled air, shared spaces, etc., it is a no brainer why disease spreads like wildfire.  I was feeling a sharp shooting pain in my right arm pit for a number of days during our run of rehearsals in England, but didn’t think too much of it at the time.  However in Antwerp… when I woke up one morning with a crimson red stripe wrapping around the side of my body… I knew immediately that something was wrong. The pain was excruciating, and I knew I needed to do something quick.  When blisters started appearing a couple of hours later I panicked.
When you are abroad and get sick, it is an isolating feeling.  You’re far from family, your home, and a medical system you’re used to. I called Tricia (tour manager/Ben’s wife) and nervously described my situation.  She agreed I needed medical attention immediately – so I took it upon myself to get to a Belgian ER asap.  Thankfully we had an off day before our show at the Merksem Arena the next day, so I had a little bit of time to get this sorted. I snagged a taxi from the hotel and was driven into the
dark cobblestone alleyways of Antwerp.  As I passed the amber lights streaming by, I worried if I would have enough euros to pay for the cab, let alone know how to even get back to my hotel after everything was sorted at the hospital.  Thankfully the cabbie took credit cards… so that was one problem solved.
I arrived around 11:00 pm at night at GZA Ziekenhuizen Saint Vincentius Campus, and was immediately confused… every sign was in Dutch, so I had to stumble my way in pain and perplexed through their campus, until I stumbled into the Urgencies (Emergency) Ward.  I think I passed the morgue briefly, and that didn’t put me in a good mood.
All in all, the ER visit was uneventful…. but excruciatingly long. They took my passport and held onto it while I waited…. which made me nervous.  The entire tour crew was on WhatsApp texting each other about a night of going out on the town in Antwerp… and I lay silently in a dimly lit room feeling odd and alone. I didn’t want to tell anyone I was there – just seemed like an odd thing to share.  Thankfully the doctor that saw me knew English, however none of the nurses were very fluent, so there was a number of awkward, hurried exchanges that really didn’t amount to much.  Once I learned I had Zoster/Shingles from the doctor on staff, they prescribed me industrial strength Belgian anti viral meds, and pain killers. These made life way better once I was able to snag them from the Apotheek the next morning.  I didn’t even have to pay a co-pay from the hospital since their credit card machine was down. All in all – thank god for Belgian health care!
2016-03-09 23.36.59Remember how I mentioned how a music tour is like the town from the movie ‘Outbreak?’ Well now I had to be extra conscious of the fact that I was a border-line carrier monkey.  Awesome… Shingles is only contagious to small children and people that had never had the chicken pox virus.  In my ignorance I figured that meant everyone was immune and I was fine… I mean my parents shoved me in a room with other kids that had chicken pox back in the 2nd grade so I would get it.  Well I found out immediately that I would be a threat to Macklemore’s baby daughter, my hotel room mate on the tour Eric Nally (featured vocalist for Downtown) who has never had chicken pox, and two of the string players that I coordinate for the show.  Well that’s just great… I start tour as a recluse, a leper, and a stressed out wreck.  Maybe my sophomore year touring isn’t off to such a great start after all.
My album is literally trying to kill me.

Macklemore & Ryan Lewis European Tour Diary 1

2016-03-19 16.00.30
March 19, 2016 (Vienna, Austria)
We rolled into Vienna, Austria early this morning.  9 semi trucks, and about 7 full tour buses – all full of crew, management, catering, band, talent, and staging.  This is one of the first days though, that I feel fully cognitive of my surroundings, my current existence, and my state of being.  I feel like this is finally the time that everyone in the crew has fallen into a somewhat regular routine.
We’ve been on the road for over two weeks in Europe, for the global release of Macklemore & Ryan Lewis’ “This Unruly Mess I’ve Made.”  We flew into England at the beginning of March, and rehearsed for a couple of days in Leeds, in the frozen countryside of northern UK.  Trying to adjust to a disorienting life on the road always takes time to acclimate to.  Last time I toured with M&RL for ‘the Heist’, it took me close to a month to feel a sense of balance on the road.. and even then it was more a holding pattern for my sanity, before I got back home a couple of months later.
We’ve already played seven shows so far, out of 30 for the European leg of our tour.  We’ve hit Luxembourg, Belgium, Cologne, Berlin, Hamburg, Stuttgart, and Łódź. After two weeks, it feels like a colorful blur, which is a rather scary sensation… especially when you consider the beauty of the countries we’ve passed through.  It always seems a shame that I couldn’t be more present in each and every moment… see every sight I can… meet every person I can… live life to the fullest (not to be cliché)… but once you see such grandeur pass by you so quickly, you only realize in hindsight what an opportunity has been presented to you.  However, the main thing to keep in mind, is that I’m here in Europe not to be a tourist.  I have a job to do – and I have a lot of responsibility as the orchestral leader for M&RL.
I read an article which talks about the taxing nature of touring, and the extreme contrast of the highs & of lows of performing, and not performing….  A mental health professional named John C Buckner, calls it ‘Post-Performance depression,’ and points out:  “When the body experiences major shifts in mood, it is flooded with several different neurotransmitters, resulting in a biochemical release that leads to a feeling of ecstasy. After these moments the nervous system needs time to recalibrate itself to prepare for another release. After an exciting performance the body starts to balance out the level of neurotransmitters, and therefore it is not releasing the same level that caused the exciting feelings, resulting in the lingering sadness. In normal day-to-day life, biochemicals are released and rest/recovery follow, causing the typical ups and downs of life. In the case of PPD, the process is more extreme with higher highs and lower lows.”    http://www.theguardian.com/music/2015/jun/25/musicians-touring-psychological-dangers-willis-earl-beal-kate-nash
I am very aware of the exalted position I have in the life that I’ve chosen.  As a musician, I get to perform in front of thousands daily… however this isn’t a life of predictability, sustainability, or security.  Personally, I’m a creature of habit and comfort, and have been battling against a life time of being a touring artist. I have ambitions of being a father, own a home, have a relatively sustainable lifestyle of a middle class working musician. However, it is an unsettling reality that the music industry doesn’t support artists that chose to actively not tour… it simply isn’t a viable option.  If I could just stay home, record, write symphonies, and co-write music, I would…. but that ultimately isn’t financially feasible.  I’ve been playing violin since I was five years old, and the art of performing is etched into my bones.  I have even learned the art of moving, after being a professional dancer for a number of years when I was in high school.  I’ve been conditioned for performance… but I still battle the idea that this is the only way that I can live my life. The strain is simply not sustainable forever.
My grandparents were both famous cellists in the 20s-40s, and recorded with the Hollywood studio orchestras, and toured with the conductor Artur Rodziński, and many others.  My step-grandfather started the London String Quartet.  Their life was performance… and my grandmother was ultimately a shell of who she was once she stopped playing her instrument.  I remember, my grandparents talking about their family friend Fritz Kreisler, (an incredible Austrian violinist that I adore and look up to), that he should have stopped performing years earlier than he did, because he was losing his edge.  You simply cannot perform all your life.  So what is left for a musician to do?
Ok… well we’re just about to perform at Wiener Stadhalle, in Vienna for 11,000 people.  The backstage is buzzing with energy, and adrenaline.  Maybe despite my own reservations, this is the show that I will fully be present for, and at least for an hour and twenty minutes forget everything else, and lose myself in the performance high…  Because I know I won’t have this opportunity forever.
Every night before we perform, the entire performing crew gathers in a huddle to give ourselves a pre show pep talk.  Tonight the DJ Patrick ‘Zone’ (one of the tour support acts along with the artist XP), said the most motivational speech ever:
“I’ve heard a lot of people say that we are so lucky being able to perform for thousands and tour Europe like we are…. But I’m a magician and a skeptic, and I don’t believe in luck. I see “luck” as preparation meets opportunity.  There is opportunity everywhere you look – but you aren’t always prepared to see it or do something about it.
You all have been preparing your entire lives to be here for this moment. There isn’t any slackers here – you are all here for a reason. And when you pass through those doors and into that arena…. What is beyond those doors is an opportunity. You’re prepared… Now accept that opportunity.”
Zone is absolutely right. I’m here for a reason. I’ve been doing this all my life.  And I love this life. Time to live it.
2016-03-19 15.37.29

Zillow Podcast “Office Hours with Spencer Rascoff” Launches

Screen Shot 2016-06-27 at 2.02.41 PMI’m excited to be involved with the launch of the brand new Podcast show, “Office Hours”, that NW company Zillow put together, along with their CEO Spencer Rascoff.  Rascoff is hosting the podcast series,  which debuted today in the iTunes Store. In each episode, Rascoff will be joined by a prominent guest for a candid conversation about leadership, management, building a strong company culture, how the role of the CEO is changing and guiding a company in the digital age.

Rascoff’s first guest is Dick Costolo, entrepreneur and former CEO of Twitter. Upcoming episodes will feature Michael Corbat, Citigroup CEO; Sallie Krawcheck, Ellevest CEO; Joel Spolsky, Stack Overflow CEO and Trello co-founder; and Scott Svenson, Mod Pizza CEO.

I scored and performed the theme music for the show, which has a sound that feels like a combination of Bitter Sweet Symphony, and Masterpiece Theater.  I’m honored to be involved, and will be continually working with Rascoff and Zillow throughout the lifetime of the show!

More information about the show can be found here: http://www.prnewswire.com/news-releases/zillow-group-ceo-spencer-rascoff-debuts-office-hours-podcast-300287940.html

 

Made in Seattle Week: Makers in Music Event

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I’m going to be a guest panelist and speaker at the upcoming Made in Seattle “Makers in Music” event on June 8, 6:00-8:00 PM.  Tickets can be purchased here: https://generalassemb.ly/education/made-in-seattle-week-makers-in-music/seattle/24744

About This Event

Made in Seattle Week, a week to celebrate great things being made in our city. They are bringing together people from all backgrounds and industries to foster collaboration through education.

General Assembly have partnered with local industry leaders to bring you a whole week’s worth of knowledge through a series of panels, discussions, presentations, and fireside chats. Some of the most exciting companies and organizations in the Seattle Tech, Food, Music, Design, and Beer scenes will be joining us every day.

On day three, Makers in Music, panelists from various aspects of the Seattle music scene will discuss digital technologies and their impact on the music industry. You’ll hear from thought leaders and acclaimed musicians that rose to fame in Seattle. They’ll discuss how the distribution of songs and albums has been shaped by the internet’s free market, how the relationship between record labels and artists has adjusted to the times, and what the future of music looks like both locally and internationally in a digital world.

We’ll cap off the night with performances by Manatee Commune and Harps!

Manatee Commune: https://manateecommune.bandcamp.com/

Harps: https://soundcloud.com/thesoundofharps

 

The Dead of Winter (5/13/16)

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New Lerin Herzer and Andrew Joslyn Album Release!

Screen Shot 2016-05-12 at 1.11.34 AMIt’s finally here! My new collaborative record with Seattle musician Lerin Herzer is being released worldwide! You can get the album NOW at the following links:

http://itunes.apple.com/album/id1112377741?ls=1&app=itunes
https://lerinandandrew.bandcamp.com/album/the-dead-of-winter

 

Andrew Joslyn Interviewed by ‘The Future of What’ for their MusicCares Show