Achickwitbeatz presents ⁠the Instrumental Intel podcast⁠, bringing you information instrumental to your artistic career including music industry news & tips, insights & interviews, and beats for your inspiration. Listen on Saturdays at 7 pm EST on ⁠⁠⁠Grander Radio⁠⁠⁠ and ⁠⁠⁠Achickwitbeatz.com⁠⁠⁠.
Follow on Facebook, Instagram, Twitter, YouTube Audiomack & SoundCloud, and subscribe on your favorite podcast platform. Download the Grander Media app to listen to Grander Radio on the go.

Instrumental Intel Podcast

Achickwitbeatz brings you information instrumental to your artistic career including music industry news, insights, interviews, and beats for your inspiration. Listen on Saturdays at 7 pm ET on ⁠⁠⁠Grander Radio,⁠⁠⁠ Achickwitbeatz.com⁠⁠⁠, and your favorite podcast platform.

Transcript Generated by Riverside

00:02
Hey, thank you so much for tuning in to Instrumental Intel. I am your host, music producer Chickwick Beats, and I'm glad that you're here. Today's episode has music industry news, instrumentals by me for your inspiration. And later, I'll be joined by my special guest, Jessie Flores from Intercept Music. We're going to talk a lot about the business, indie Hip Hop artist success, and so much more. So I'm excited to be bringing this episode to you. And before I go ahead and drop that first beat,

00:28
I gotta give a shout out to my home station, Grander Radio out of Grand Rapids, Michigan. And with that, let's go.

[BEAT BREAK]

13:09
I’m back with the Music Biz Brief. First up, Spotify's royalty model is under renewed fire. As critics argue, the company, now worth over $145 billion, is profiting while songwriters struggle. A controversial audiobook bundling strategy has already cost publishers $230 million in lost payouts. Some are calling on CEO Daniel Ek to lead reform, including a proposal to give songwriters a 1% equity stake, which could fund health care and career services for over

13:39
50,000 writers. We'll see how that plays out. Next, a new report from Outpost Partners tracks over 600 music tech startups and shows early-stage funding remains steady, with average raises around $2 million and valuations trending upward. Gen AI is fueling a sharp rise in music creation startups while engagement-focused deals have dropped, primarily due to the collapse of crypto-based ventures.

14:04
Europe and North America dominate most of the deals, but many startups hit a wall after their first funding round, especially when trying to grow beyond music. Also, Twitch has started testing vertical video streams with a small group of creators, kinda aiming to compete with platforms like TikTok, Instagram Reels, and YouTube Shorts. The new feature includes a vertical theater mode and lets users switch between classic and vertical formats. While it's still in early testing, Twitch plans to expand access later this year.

14:32
So, heads up DJs, this might be a new way that you might want to try to get some of your work out there. Next, Warner Music Group has named Orla Lee-Fisher as its first head of dual catalog strategy, a new role focused on unifying campaigns across both recorded and publishing catalogs. She'll also support Warner's ramped-up catalog acquisitions, following its $1.2 billion joint venture with Bain Capital.

14:57
Lee-Fisher joins from Universal, where she's led global campaigns for legends like the Beatles and Elton John. Since this is a newly created position, you can kind of see exactly where their focus is, and it'll be interesting to see how the other labels might be kind of doing the same thing. Also, TikTok is testing new features to help songwriters showcase their work, including a songwriter label and a dedicated music tab on their profiles. The tools are currently in beta with select partners.

15:25
kind of aiming to boost visibility and build audiences for writers on the platform. Interested songwriters can join a waitlist as TikTok expands the program. Next, the Black Promoters Collective is having a standout 2025 with revenue on pace to surpass $100 million, thanks to a strong tour and festival lineup. Highlights include Branyi and Monica's co-headlining Boy Is Mine Arena Tour, the widely praised Jazz in the Gardens Festival,

15:52
and expansion into new partnerships like the Hampton Jazz and Music Festival. They also co-produced a sold-out Hot 97 summer jam with major Hip Hop acts. The BPC credits its success to culture-centered marketing and a mission to create authentic, large-scale black experiences. Oh right, when Anthropic recently quote-unquote won a key court ruling that said AI training using legitimately sourced books qualifies as fair use, the win came with a major setback.

16:21
The company also used millions of pirated books to train its clawed model. That part of the case is now part of a class action lawsuit, meaning authors of those books could seek damages potentially totaling over $1 trillion. While the ruling gives AI firms some legal cover, it also raises major risks for those using unlicensed content. This case could pressure AI companies to negotiate licensing deals with creators, including those in the music industry.

16:46
Next, Universal Music Group is preparing for a potential U.S. stock listing, filing a confidential draft registration with the SEC for a public offering of shares held by existing shareholders. It would be a secondary listing alongside its current trading on Amsterdam's EuroNext exchange. No timeline or pricing details have been disclosed, so this follows earlier pressure from investor Bill Ackman's Pershing Square, which has gradually reduced its Universal State.

17:14
In the first quarter, Universal reported €2.9 billion in revenue, up 9.5% from the previous year, driven by growth in recorded music, publishing, and streaming. Also, a court in Brazil has helped to fight against streaming fraud, ordering the shutdown of Seguidores Marketing Digital for selling fake followers, likes, and streams across platforms like Spotify and TikTok.

17:38
The decision, part of IFPI's Operation Authentica, is the first of its kind and sets a strong legal precedent. Authorities identified 38 local sites offering similar services, and over 1,100 resellers worldwide have been impacted. IFPI says the ruling protects both artists and fans from manipulated metrics and boosts efforts to clean up Brazil's digital music ecosystem.

18:02
Next, Setmixer has launched a new online marketplace in the UK that lets fans buy studio-quality live concert recordings within 12 hours of the show. Artists keep 70 % of the revenue, while venues get 10%. Artists can purchase the multi-track source files from Set Mixer, with 50 % of sales going to the venue. Most recordings cost three to five pounds, and fans can listen via Set Mixer's web app. The startup, which already has captured over 10,000 sets and works with 3,400 artists,

18:32
aims to give performers and grassroots venues a new revenue system beyond streaming. Setmixer is currently raising 1.5 million pounds to expand its model. All right, HYBE Latin America is expanding its reach with new reality TV shows, artist deals, and immersive fan experiences. The company just opened an interactive space in Mexico tied to its new talent competition, Santos Bravos, which will form a five-member Latin pop group from 16 rising artists

19:00
across the Americas and Spain. Live shows kick off in August. HYBE is also teaming up with Telemundo on Pase a la Fama, a competition to form a new regional Mexican banda. Meanwhile, they've signed Daddy Yankee and Colombian pop band Morat, highlighting their continued investment in the Spanish-language music market. Next, the UK government has announced new streaming reforms aimed at improving pay for legacy artists, songwriters, and session musicians.

19:28
Major labels have agreed to disregard unrequited balances for pre-2000 signings and respond within 60 days to requests for royalty renegotiations. Songwriters will now receive £75 per diem plus expenses for label-organized sessions, and session musicians will see increased recording fees. While industry groups welcome the changes, many creator advocates say the measures fall short of deeper reforms, like royalty rebalancing or rights reversion.

19:56
and promise to keep pushing for stronger action. Also, under a new partnership with Liquidax Capital, Universal Music Group is accelerating the development and licensing of its music-related AI patents. The deal includes the formation of MusicIP holdings, which will manage global licensing. 15 patents have been filed so far covering areas like artist marketing, audience targeting, wellness-focused audio tech, rights management, and AI threat protection,

20:25
two of which have already been granted. And two US senators have introduced a bill that would ban AI companies from training on copyrighted works or personal data without permission. The proposed AI Accountability and Personal Data Protection Act aims to give creators and consumers legal recourse against unauthorized use. This, of course, comes during ongoing lawsuits over whether AI training qualifies as fair use under current law. If passed, the bill would override that ambiguity and require explicit consent.

20:55
A move likely to face strong resistance from the tech industry. So once again, we'll see how this plays out. Next, is now officially a private company again. Founder and CEO Dennis Ladegaillerie, along with EQT and TCV, has nearly completed a full takeover, triggering a legal squeeze-out of remaining public shareholders. As of July 22nd, Believe has stopped trading on the Paris stock exchange,

21:21
and the remaining 1.33% of shares will be forcibly acquired at €17.20 each. The company will no longer publish financial reports, a shift away from public transparency as it moves forward under private ownership. Also, one RPM founder, Emmanuel Zunes,I hope I'm saying that right, says the old labels versus distributors divide is dead, celebrating the company's 15th anniversary.

21:47
He describes ONErpm as a global music solutions platform, not just a distributor or label. Entirely self-funded, the company expects to generate $300 million this year and holds a 2.7 % market share on Spotify. With presence in 40-plus territories, ONErpm is now expanding across Africa and Asia, while resisting outside investment to stay fully independent.

22:11
He argues that true independence means having full control, something most indie companies, he says, have already given up, which we have seen happen quite often, especially within the last five years. And Recognition Music Group, which now controls the former Hypnosis catalog, is issuing $372 million in bonds backed by its music rights portfolio. The catalog was recently valued at $2.95 billion,

22:36
and includes work from artists like Justin Bieber, Shakira, and Journey, with most assets over 10 years old. Proceeds will go towards reserves, debt repayment, and corporate needs. Rating agency KBRA assigned the bonds on an A rating, citing streaming as a key revenue driver. So this goes along with the broader trend of music companies leveraging catalogs for large-scale debt deals, as seen in Concord's recent $1.76 billion issuance.

23:02
And finally, Spotify says just 2 % of an artist's monthly listeners are dubbed as super listeners, and they drive 50 % of ticket sales on the platform. These fans stream 20 times more than casual viewers, spend over $25 per artist on merch and shows monthly, and are more likely to stick around long term. Spotify is encouraging artists to identify and engage this loyal group using tools like audience segments, discovery mode, marquee,

23:31
and showcase campaigns. Note that new releases often boost super listener numbers by 18%. Alright, and that's a wrap for the music biz brief for this week. I'm gonna take a quick pause for the cause, and then I'll be back with my special guest, Jesse Flores of Intercept Music, right after this. Keep it locked.

[BEAT BREAK]

38:19
Hey, I'm Achickwitbeatz, multi-genre music producer and strategist to indie artists and labels. Visit achickwitbeatz.com for resources for artists and instrumentals in various genres available for songs, vlogs, blogs, podcasts, themes, TV, film, commercials, and more. Once again, that's achickwitbeatz.com. That's A-C-H-I-C-K-W-I-T-B-E-A-T-Z.com.

38:47
Let's make something happen. All right. Thank you so much for tuning in to Instrumental Intel. I'm your host, music producer, Achickwitbeatz. And I'm excited, thrilled, and delighted to say that in the virtual building I have with me today, Jesse Flores, Vice President of Artists and Label Partnerships for Intercept Music. So first of all, I just want to thank you for taking time out of your busy schedule to come and speak with me. yeah, you could just give us a little background on who you are, how you got involved in music, and

39:16
what led you to where you are today? Thank you. It's good to be here. Thanks for having me. I am a music lover like many of us when I was young. I wanted to be in the music business. Wasn't sure how to figure that out at the time. I was raised in Florida, grew up there, went to high school, college out there. And when I was in college, you know, I was performing music. I played the saxophone, but I didn't want to like major in it. And there wasn't no music business major or.

39:44
any type of classes at my school at the time, University of Florida. So what I started doing was selling mixtapes. My mom's from the Bronx, so we used to go to New York every summer. And I used to love going there because I get all my clothes, all my gear, and also all the mixtapes that were out right now at the time, I'm sorry, from all the big time DJs like DJ Clue and Ron G and SNS and Doo-Wop, Tony Touch, all these guys. All these mixtapes didn't get down there in Florida. So I go up there.

40:13
I made a connection with a guy in Fulton Street in Brooklyn. He had a store called Fat Jams, a guy named Joey. Told him who I was, what I wanted to do, and he would send down to me mix tapes and CDs every week or so to sell. And I'd get them from UPS COD, and I just kept calling him and calling him every week. He's like, man, you're doing great things down there, because you're constantly hitting me up. So I did that for a while, which was great. And I found out that our school had an agency that

40:42
booked shows and they had a budget of like 250,000. So I signed up for that. It was a student run of agency called Student Government Productions. And through that, we were able to book some amazing shows, especially in the Hip Hop genre. During my time there, we brought The Far Side, Tribe Called Quest, Lost Boys, Redman. So some really good names back then. It was a great learning experience. And while was at SGP, we used to get CMJ Magazine.

41:11
and CMJ had some classifieds and they said that one of the distribution companies, Polygram Group Distribution, was looking for a college rep in Florida. So I was like, man, that looks like a great opportunity. Let me see if I can apply for that. I was a senior at the time, so I wasn't sure how that was gonna go, but I met with the guy hiring for that position and after a couple times talking to him, he eventually hired me, which is great.

41:40
And I officially became a college rep for Polygram. And at the time, Polygram had Def Jam, they had Motown, they had Island Records. So a lot of great, you know, music labels at the time. And it was on and popping from them because, you know, I became the college rep, I graduated, I got a job offer in Detroit and LA to be a field rep. And I chose to go to LA, which is a great decision on my part, because it's kind of like where everything kind of springboarded from my career.

42:10
moved out to LA and rose up the ranks from college rep to artist development rep. And after being in LA for about maybe eight months, Universal Music Group decided to purchase Polygram. So it was a big merger. And I was fortunate enough to stay on board with Universal Music Group going forward. Same situation as with Polygram, field rep, marketing rep, and then

42:39
got a job as a sales rep for Universal and that was great because I got to work with a lot of good retail stores out here in Los Angeles like Tower Records and Virgin and all the cool indie stores out here as well. So it was just an amazing experience. Did that for a few years and in 2004 I got a job opportunity at EMI Music to be their head of urban marketing which was a huge step for me because that was an actual natural

43:08
natural progression in my career, as well as a national position where I was just a regional sales guy prior to that. So at EMI, I was able to spread my wings and really work with some great artists. And we also started doing something interesting, which is different from what a lot of companies were doing at the time, the three majors, which was offering independent artists distribution deals where EMI or whatever labels, capital or version, they didn't own the masters, the artists owned the masters.

43:36
We just provided services for them. So that was kind of the impetus of this whole distribution deal with Indies because we had a lot of great success there. I was able to sign Ice Cube. I signed Trina, Bobby V, Raekwon, Twista. We just had a really good artist roster at the time. And Tyrese was another big one. We gave Tyrese his first number-one album, believe it or not. So from 04 to like 2012 was a great run with EMI.

44:06
and bringing some independent artists and having success with them as well. Another merger happened, Universal purchased EMI. So I went through that whole situation. And after that, I decided to join Ingrus, which was a distribution company based in Los Angeles and San Fran. And I had another great run. I was doing label development and management there for a lot of great artists for several years. I was at Ingrus for about nine, 10 years.

44:34
And then they got bought by Universal Music Group. So another merger happened. Universal merged in groups with Virgin Music Group. And after that, I separated from the company and found a great opportunity here at Intercept Music with the co-founders, Ralph Tashian, who you know, and as well as Todd Turner, also our co-founder. And I've been here for a few months and it's been great. I love it. First of all, that's an amazing journey.

45:02
especially some of the artists that you got to work with. Absolutely. You've named a huge range of people, say from the time that you realized that you wanted to be in the industry, who would you say were some of the artists that kind of influenced that most, like before you got to doing what you're doing now? You mean as far as like artists that I grew up listening to? Yeah. Oh wow, everybody. My mom, she's really into Motown, so growing up I heard a lot of

45:31
all the Motown artists, know, Supremes to, you know, the Jacksons to everybody. She loved music and always played music, especially going on little road trips or whatever on vacation. So I don't know if that's where I found my love for music, but you know, it was always something that I was interested in. And then growing up, I grew up in Florida. So a lot of the Florida artists were very instrumental into, you know, my love for music and I loved Hip Hop and rap. So.

45:58
You know, everybody from like 2 Live Crew, to Poison Clan, to Pony Express, to DJ Uncle Al. Like all these guys that were kind of bubbling locally, you know, I was a big fan of. And then just going up in the South, heavily influenced by like Outkast and UGK and 8Ball, MJG, those type of artists. Then, you know, having ties to New York, to my mom's side of the family, everybody in New York was, you know, obviously a big influence. And that's everyone from like Rockham to...

46:27
Wu Tang to Nas to Jay Z, all the greats. So a big influence. And you know what, I loved the West Coast music as well. Know, cause when I was in high school was, you know, it was a lot of Ice Cube, a lot of DJ Quake. So those type of artists were influential as well. Absolutely. So, okay. Since you mentioned Wu-Tang as part of your influences, how did it feel once you actually got to work with some of the members? I had to pinch myself. I could not.

46:56
know, believe that I was getting paid to do it. It was a dream of mine. I think the one artist that really had a big influence on my career was Ice Cube, because obviously I was a fan as a kid. And then when I got a chance to work with him, I got to shout out Tony Draper, who was very influential in bringing that partnership to EMI at the time. You know, obviously working with a living legend as far as I'm concerned, but then the guy was the consummate professional. Like he was always on time.

47:25
whatever opportunities we brought to the table, he approved them. He did everything, you know, to a T. Like I was just amazed at how the work ethic he had. Like he was nonstop. Like this is a man that, you know, in my opinion, he does things his own way and he does it to the best of his ability. And, you know, he does whatever he wants to do and he does it the right way. you know, that's someone I think Ice Cube would say is the one person, if I had to name one, that had a big influence.

47:56
amazing. I know at least for me sometimes depending on who it is I get a little starstruck and you know they might kind of throw me off my game for a minute so yeah to I guess come from admiring them to being able to work with them and do it smoothly I commend you that. I don't know if I could do it that smoothly but yes. So okay you know from the time frame that you started getting involved till now what are some of the biggest changes that you say that you've seen you know pros cons good or bad in the industry?

48:26
So my entire pedigree in the business has been distribution and over the past 25 years it has changed drastically. When I got in the business, it was all about retail for distribution. all the physical retailers had a big part of it, the indie retailers. The Best Buy's, Target's, the Sam Goodies, Walmart at the time was big. Even Kmart was selling music. So it was all about, you know,

48:54
selling that record into those stores, making sure they buy a decent amount so you can have a really strong first week sales. And there was also a lot of pricing wars at the time too. I was young, but at the time, you know, that was when Best Buy and Walmart were like selling CDs for like, you know, 699 to 999, which is really, really low as far as, you know, the price range when considering if you're an independent rep or store and you're buying your product from a one-stop distributor, a lot of times the prices at Best Buy and

49:23
Walmart were cheaper than the one stop. So why even go to the one stop? Just go to Best Buy and buy all your stock, you know, cause you're getting a better price. So that's kind of what was going on at the time. And that was a big challenge for a lot of people. And then, you know, in 2001, I think that's when iTunes opened their store, which was a game changer because, you know, they were selling digital downloads and nobody had done that before. They also had the hardware to support it, you know, with the, with the,

49:53
iPod. So that was a game changer. And we noticed that this is going to, you know, obviously be a big player going forward. And then in 2011, I believe that's when Spotify came to the US. And that was another game changer because now you just stream music and you have to download it. You can access music and have, you know, to touch your hand, know, the millions of songs, you know, and add them to playlists and create your own playlist and be your own, you know, editor, basically, when it comes to

50:23
type of music you listen to. it was, it's definitely changed, you know, to be honest, the industry's been cut in half since I started in the late 90s. You know, there were six major distributors and now there's three. So, you know, everything's been cut in half. There's a lot of consolidation, but at the same time, there's a lot of growth for the independent sector, you know, that's where that's why independents are, I think they attribute maybe 48 to 50 % of all, you know, the recorded music business.

50:51
is coming from the Indies, which is amazing and great news for a company like Intercept Music that super serves the indie artists and label community. It really is. So can you talk a little bit more about that for anyone who may have missed the interview with Ralph, but the opportunities that you guys provide. Yeah. So Intercept Music is a next generation distribution company for indie artists and labels founded in 2018. And I like to think of ourselves as a perfect mix of music, tech, and people.

51:21
Music because that's our core business, distributing your music to the masses. Tech because that's the backbone of our company, our platform and our dashboard is second to none. And people because we have a team of great employees and just incredible people that are there to super serve our indie partners on a daily basis. all that combined, we're poised to really have a great run going forward.

51:48
You know, we do extremely well with Latin music right now. We're building up our best repertoire as well. And now's the right time. You know, it's really a great time to be independent and be with a company like Intercept Music if you really want to grow your business. Because we're not just a distributor. And there's a lot of just people out there, a lot of companies out there that, you know, can, you know, distribute your product from A to B. But there's more to that. We want to be your strategic growth partner. We want to be there to help build your career.

52:18
We're going to be able to talk to you, discuss really strategy, kind of help you, you go through the woods and just kind of figure out how do you rise above that noise? It's really incredible work that you're doing. So since most of the audience kind of falls into that category of independent artists, what type of advice do you have for them when they're, I guess, looking to make that decision? Like you stated, there are a bunch of distributors out there, but...

52:45
I mean, not all of them cover the same needs. What advice would you have for artists that looking to kind of narrow it down and figure out who to choose? Well, I think you got to have a vision, you know, and you also got to have a plan, you know, in order to be successful in a competitive business like the music industry, you really need to separate yourself from everybody else. Why should anybody care about what you're putting out? You know, you really got to build a fan base that's fully engaged. You know, you got to have a story to tell, you know.

53:15
whether it's with your music, for example, you need to have a consistent flow of releases. You can't put out music for a year or two and then go away and not put anything out for two, three years and then, oh, I wanna start putting out music again. That's not gonna work because you're essentially gonna have to over, especially as a developing artist. Music is always changing, it's very competitive. There's so many tracks being released every day.

53:42
You you got to be there for your fans and let them know what you have coming out. Be consistent with that. Also with your messaging on social media to support your releases, you know, be consistent with that as well. Got to have a plan. Also have a good team around you. You know, I'd say a good team of about five people, which I call the Fantastic Five. It's a good manager, a good entertainment attorney, distributor, publicist, and online marketing and social media specialist. Having those people in your corner, helping you develop that

54:12
plan is vital in my opinion for success. And you also got to be patient and resilient. You know, it's not going to happen overnight for a lot of people, for most people. you know, if you got to be able to stay in the game, have that vision and be really up for the challenge because it's not going to be easy. Thank you so much for that. That's some nice advice. Appreciate you dropping those gems. So especially even considering your career.

54:40
With all the different changes that you've been through and witnessed, all the buyouts as the labels were consolidating, how were you able to just keep rolling from one thing to the next without hesitation?

54:54
Well, you know, it's the music business. It's always about the next best opportunity. Believe it or not, it is kind of a small world and it's getting smaller. You know, it's crucial to have relationships with good people. And for example, Ralph and Todd, the co-founders of Intercept, you know, I've known Ralph for about 15, 17 years and we've kept in touch. You know, he knew me when I was at EMI and he was always, you know, a great person to kind of, you know, talk with and catch up with.

55:23
discuss things about the business. And then when I became a free agent, it was only right that one, he reached out to me and two, I seriously consider what he has developed his vision and where he's gonna take the company forward in the future. And I thought this is a great opportunity for me. The time is right now. Let's partner together and really grow this company and take it to the next level. Thank you for that. had to ask, because a lot of times as creators, we might be kind of nervous to...

55:52
keep going. So yeah, your career is a good example of that and how you just kept pushing through. It's really commendable. Yeah, I've been through about five mergers, survived three of them. So there's been a couple of times where I've been laid off and, you know, I could have laid down and given up and gotten outside the industry. But I'm thankful that I'm blessed to have a lot of good friends that, you know, care about me and what I've done in the past and believe in me, trust in me.

56:20
and wanted to give me an opportunity. So I don't want you to give away any secrets that you can't, but what's next on the pipeline for what you're doing specifically in your department, whatever you can share? Well, it's really trying to better our service offering for our partners, artists and label partners. And a lot of that is with our dashboard and the tools that we provide.

56:49
join Intercept Music, you'll be able to obviously upload and distribute your music to the masses, but you can also provide a merch store. Say you have a new release and it's a catchy single with a catchy hook and you want to put out some merch. All that can be done within our dashboard with our integration with Shopify, which is amazing. You can also use AI and a marketing capacity on our dashboard. So say,

57:16
You need to come up with some social media messaging for some posts coming up to support the release. Or you need a bio or maybe a press release. All that can be generated through AI within our dashboard. Same thing with a marketing plan. We're getting to that too. That's on the roadmap for AI on our dashboard. You can also book advertising, digital advertising, Spotify advertising, outdoor advertising, YouTube advertising. All that can be done with.

57:44
than the dashboard. All these tools which are created for artists and labels to use are very helpful in helping build their career. yeah, I appreciate you sharing that. A lot of times, I think artists don't really understand, you all the different things that are out there just because so much focus tends to be on, you know, some of the larger platforms. So I appreciate you taking the time to take that down. And yeah.

58:14
If you could, want to make sure that everybody knows where they can find you, follow you, kind of keep up with all the good stuff that you've got going on. Yes, you can find us at interceptmusic.com or on IG. You can send us a DM at at interceptmusicofficial or say if you're an artist or label and you want to figure out how to take your career to the next level. Maybe you have 5,000 followers on Spotify or 1,000 subscribers on YouTube.

58:40
You can hit me up directly on email. I'm at jesse.flores at interceptmusic.com. Thank you so much. And you've already dropped so many gems, but I just want to make sure that there's time if there's something else that you kind of want to leave the listeners with.

58:56
Um, just, yeah, if you're an artist and you're, you know, an emerging artist, just trying to figure out what to do, reach out to us. Cause we're, we're, that's what we're here for. We're here to be your partner. We want to help you grow. Um, you know, like I said, in the U S specifically, we really want to really make an impact and, um, you know, prove that Intercept is definitely the next level distribution company that's going to make some noise going forward. And, uh, we're here for that. So.

59:25
Yeah, any questions, any comments, or you just want to find more info about the company, please feel free to reach out to me. Thank you so much. Thank you. All right. And that's a wrap for this episode of Instrumental Intel. I've been your host, music producer Achickwitbeatz. And once again, I want to thank you for listening. I want to thank my special guest, Jesse Flores, for coming through to share his insight and experience. And I also want to thank my home station, Grander Radio out of Grand Rapids, Michigan. Make sure you tune in next week. I got more goodness lined up for you.

59:55
So until next time, you know where to find me. Tune in, tell a friend, and I'll see you then. Peace.