​Doing some interesting work with business client Now Hear This Audiology & Hearing Solutions. Specifically we are using the Facebook pixel to target the accounts of people who have visited the company's website when we boost a post. We can see that some of the post likes are from website visitors who do not yet follow the Facebook page. In other words we are getting the attention of people interested in their business, but who would not have seen the posts if we hadn't targeted them.

​You can tell by many bands' social media that their online marketing mainly involves desperately waiting for the next holiday so they can post a photo of their themed decorations. "We're lucky Pam brought in that stuffed animal so we had something to post on Groundhog Day. I think what she had was actually a gopher and I still don't know why it was wearing an evening gown, but dammit it got three likes."

"When you have the opportunity to create music yourself, there's something that happens that makes you feel more connected to the things around you." - Jake Shimabukuro

"Some songs just come out. Pow! It's wonderful. And others ... you know, I've got great hooks and lyrics from 15 years ago that I've never finished." - Johnny Colla of clients Huey Lewis & The News

"Your goal is to find those birds of a feather, the people who have a similar mindset as you, similar goals, similar values in life, people who are all working towards something. Show me a person's friends and I will show you how successful he or she is going to be, what his or her future looks like." - client Rich Redmond

Cris: Your playing on the album "Black Beehive"… it’s more sparse, but there’s a little more power to it as well.

Brian Nevin (Big Head Todd and the Monsters): Thanks. I think so too. What I’m trying to do is play less with more feel. What I am realizing is that space, it can be almost more powerful if you place the notes you play in the right spot. You know what I mean? It’s kind of creating tension with less. More drama with less. I like it better, especially because we have Todd and Jeremy. We have two guys who really can play up front.

I used to play busy. I listen back to those old recordings and it kind of bothers me because I think it’s too crowded. So my whole thing right now is make it feel good and stay out of the way.

But there is a real skill set to playing simply and open and playing well and making it feel right. It’s challenging in a good way.

"Being a musician is all about leaving a legacy. And that’s not about money. That’s about music. If you can’t leave a musical legacy, if you can’t be remembered for what you did, there’s no sense in doing it. It’s not just about making a hit right now, making a few dollars right now, make a lot of dollars right now. It’s about people leaving a stamp that a lot of people are going to remember." - Kim Wilson of clients The Fabulous Thunderbirds

 Cris: There are a lot of electronic elements that come into play with this show, that you control from your kit. I saw a computer there, I saw the Roland V-drums placed around. What's the key to dealing with all of that electronic stuff, but still giving the music a good, natural feel?

Chris Kimmerer (drummer for Thomas Rhett): Before I joined this band, I did a tour with an artist that had made an electronic record. A completely electronic record. It was amazing. Early on in that tour, we figured out ways for me to reproduce that stuff live. Half just so that I was not sitting there doing nothing. Also there's something cool about watching and... I'm not sure that it connects with everybody on their first glance, but the idea of people realizing, "Oh yeah, he's performing that part that I'm hearing, and those are not normal sounding drums." There's a cowbell thing here, or a hand clap thing there, or a super 808 kind of vibe thing in the kick drum world, and then the switch from that to the acoustic drums.

Part of the trick is it needs to feel real as far as its performance. You also want to keep track of the dynamic range of some of that stuff. It's been an absolute challenge. But we have found ways for me as a drummer to be behind the kit and perform naturally on electronic instruments, to try to recreate a true experience. Drummer Chris Kimmerer 

"You know, in the long run it really is all just about communication. You’re just trying to communicate with your audience. And the thing about Cowboy Mouth is that I want the audience to communicate back to us." - Fred LeBlanc of clients Cowboy Mouth