Welcome to Episode 80 of the Bandhive Podcast.

It is time for another episode of the Bandhive podcast. My name is James Cross and, unfortunately, I do not have Matt Hoos of Alive in Barcelona with me here today, but we again have a very special guest this week.

Connor Frost of the band Dizzy Bats, How are you doing today, Connor? I'm doing well, I really appreciate you having me. Yeah, I'm glad to hear that and thank you so much for reaching out and wanting to be on the show. It seems like you have some really interesting topics to talk about because you've had a quite long career as a D. I. Y. Artist and through the ups and downs, it seems like you've learned a lot that a lot of artists don't think about mindset things and, you know, time management and those kind of topics, which is a lot of the stuff that we should talk about more on this podcast, but sometimes we don't.

So it's a pleasure to have you here. But just as we get started, that story was so inspiring that you've toured internationally, you've played Canada, you've played Asia. Can you kind of share just, you know, the elevator pitch of your musical life story for the listeners who don't know your work. Yeah, sure. So my name is Connor, um and I'm a musician, I'm a teacher. Uh and I now have this mentoring practice where I help hidden musicians to write and release their first album. And I've always just been someone who's learned by doing, you know, before I became a teacher, I didn't really take any like, education classes per se.

I just basically started teaching, and then I kind of learned along the way. And that's kind of been the case with my music career as well. You can google a ton of different things, you can take these online courses and you can talk to people, but I think you really have to get in the trenches and actually start doing right. So, over the years, in terms of like booking tours and self releasing records, it was just that kind of thing where I just kind of went in and I did it, and yeah, it was definitely messy along the way, like, especially when I look back, but I don't know that I would be where I am.

Well, I know that I wouldn't be where I am without sort of all those learning experiences, So yeah, so you sort of, set ups and downs and I would argue there haven't been any, like downs per se just because I've learned from those down, so it's hard to call them downs if I'm coming out the other side, you know better for it. So, all those experiences it led me to as well as, you know, my teaching background, it led me to starting to work with musicians who are looking to really get started um and who are maybe having trouble starting, having trouble finishing, you know, writing that song, having um certain blocks that are keeping them from releasing their album.

So it was the kind of thing where, you know, I was able to sort of leverage my experience as a D I. Y. Musician to help others who are looking to do something similar. That's great. I mean, I feel like even if people go to school for music industry, that they're not really prepared. I saw facebook post by someone this morning saying they got a bachelor's degree and then when they actually got into the industry, everything was totally different because what's taught in school is what was relevant 10 years ago or five years ago and the music industry changes so quickly and I went to school for music industry and I loved it, but it definitely was when I came out of school, I was like, wow, this is way different than what I expected.

So I think it's great that you recognize, first of all that the downs, we're learning moments, that's really cool. But also that to me learning it that way is much more relevant for an artist. And I think a lot of artists who go to school have that realization afterwards, once they have spent $80,000 on a degree. And you know, if you go to Berkeley or something, it's like, Okay, you learn how to play music incredibly well, that's great. But if you're going specifically for music business, just do it, like that's something you can jump in and you don't have to say.

Well, you know, I went to Brooklyn and I went to Juilliard or whatever, I think that's a great point that you brought up, that the downs aren't really dance, you know, you get back up and learn from it. So going down that path, kind of your experience with dizzy bats, how did that change your outlook on the music industry over the years? Like from when you were knew, what did you imagine the music industry was? And then what was the realization of? Oh, that's not what it is?

Yeah, So I mean this was a while ago now that I started, So I feel like this was even like before I think like our first record, it got onto Spotify, but at that time like Spotify had only really come out maybe like less than a year prior. So this was a while ago, this is almost 10 years ago now. So you know, I preface this by saying that a lot has even changed since then. Obviously I think I had a lot of the similar ideas or dreams that that any sort of kid teenager young adult might have in terms of going on such and such a tour or being managed by such and such a person or getting signed by a certain label.

And I think along the way I just realized that if certain things were going to happen, the only person who could make that happen was myself. So as I started to do that, cool things started to happen. And it got to a point where I was just like, wow, like I've done all of these cool things, like, like I'm good, you know, anything that happens after this is just a bonus, you know, having produced music videos, you know, gone on these tours and self released these records.

I was like, you know, I I feel like I've lived the life of a musician, you know? Um, and I'm living the life of a musician. So why would I necessarily, you know, yearn for something more. So I think like when that switch sort of went off, I just relaxed completely and everything became a lot more fun. And that's sort of the message that I try to tell the people that I work with is that you can generate your own opportunities just through taking action within the vehicle.

That is music. I think people really search for opportunities in music versus like using their music to generate opportunities. And I think that's kind of how it's been with dizzy bat. So, you know, certainly a modest, you know, a modest following. But to even have those quote unquote, you know, super fans that have really become a part of the dizzy bats community, it's hard to really want something, you know, a lot more than than that already. Yeah, well, you know, I think something you pointed out there that's really key is that so many artists are trying to find the team who will essentially do everything for them.

And that's not realistic. You came to the realization that you have to do it and when you did that opened the doors, that's what a lot of management companies and labels, if you know, an artist wants to go down that route, that's what they look for is artists who are doing the work themselves because they know that they can then team up with that artist and work together not work for them. Yeah, totally. And certainly I'm different from others in this regard I think, but I really enjoyed the process, you know, and I think maybe it's because I have sort of a business mind and I enjoy, you know, building things from the ground up.

But I really enjoyed, he'd have seeing the quote unquote business of dizzy bats grow over the years. And I still really enjoyed, um, so to embrace the process and having patients and as opposed to simply wanting something now. And a lot of times, like, I feel like artists don't even really know what that thing is that they want. So it's better to just embrace the process and let the process just naturally unfold as it does. And I think that was kind of the situation for me and dizzy bats, you know, my experiences with booking tours led me to being able to book a tour in china and Canada, my experience, you know, doing my first music video helped me to co produce the next to music videos, you know, and I didn't plan it per se, but I learned along the way, and it led me to these new experiences.

Well, one of the things I gathered from your website is that you help artists who are struggling to reach their full potential, and it sounds like you're already alluding to that by saying, just you figure it out and then that helps you further down the road. But what kind of obstacles do you see artists typically face when they're struggling? Is it always the same thing, or is it different topics? It's a little of both, It's I feel like it's under this umbrella of general fear and insecurity um and it takes different forms, whether it's perfectionism or overwhelm, So that's sort of like the umbrella way to describe it.

So I work with a lot of people who are such perfectionists that they have trouble finishing their songs, they have trouble releasing their work because they're searching for that perfect song, or perhaps they're worried about, you know, if that song isn't perfect, you know how that's going to be received, right? And then I worked with some others who I think are just generally overwhelmed by seemingly the large mountain of tasks that need to be completed before doing X, Y, and Z, in this case releasing a record.

So the idea, regardless of you know what camp you fall under is to simplify the process into consumable chunks so that you're focusing on what's in front of you as opposed to, you know, trying to line everything up before, you know, releasing your music. And so it's really cool to have that program that brings people through that way because you know, for myself, I think in the beginning I sort of felt similar feelings of overwhelming everything else and then just learned that like if you have good goals and you have a good plan to reach those goals, there's no reason that you you can't release music, go on tour or whatever else it may be.

So yeah, for me, it starts with that first release and once you can get that first release out there, things will start to fall into place, opportunities will start to generate. Well, I want to talk about goals in a second, but first to go back to what you said about bite sized chunks, what does that look like? Is that a checklist that you suggest to artists or some kind of schedule or how does that work? Yes. So yes, to all of the above. So in terms of those who work with me, it's a mix of scheduling, self scheduling, as well as checklist.

And my sort of signature approach is each week you pick what I call 3-5 missions to accomplish that, get you closer to your goal. So if your goal is to release your first record, for example, you're going to pick missions each week, they get you closer to that. So the idea is to make them as specific as possible because I think sometimes when we sit down to do music or like, all right, I'm good, like let's work on some music and then like, we have no idea what we actually want to work on.

Um So getting really specific, like, you know, write the lyrics to verse two of such and such a song, or write a melody for the chorus of song number three, you know, whatever it may be. And even if that only takes a few minutes out of your week, that's okay. Like as long as you're getting closer to that goal, as long as there are focused missions to get you there, that's what it's all about. So that's sort of the signature approach 3-5 missions each week to get you closer and yeah.

And certainly checklists are involved in different scheduling apps, depending on the client, but that's essentially the extent of it. Yeah, that's great. So that makes me wonder when you're setting these goals, Do you have it set up? Because you said that the artist can choose which ones they want to tackle? Do you have it kind of set up? Like here's Group A. Of goals, you can pick anything from there, but don't go to Group B before you finish everything in Group A. Yeah. So there's a little there's a little bit of that certainly.

Um and a bit of a distinction as well between goals and missions. Right? So the goal of the program in my cases to finish writing X amount of songs or to release X amount of songs depending on the client's creative process. And so those missions with the guidance of the program and myself, We come up with during each session. And so it's not necessarily grouped, but there's a lot of conversation between myself and the person that I'm working with to come up with those 3-5 tangible missions each week.

Okay, that makes a lot of sense. And When you are working with them to set those goals, do you try to stretch them to get them out of their comfort zone a little bit, or how does that work? Yeah, so there's, it's a balance, certainly. Um and it's funny you use the word stretch because in addition to the 3-5 missions to to tackle each week, I often include like a stretch mission. So like, you know, time permitting or if they're feeling extra ambitious to go for whatever that stretch mission might be.

So. Absolutely. But I think generally the people who come to me simply doing a program like this is naturally taking them out of their comfort zone because it's holding them accountable. It's saying, okay, like, you know, by the end of this program, you will have done this. Uh, and I think already there's an element of, of going outside of your comfort zone there. So certainly certainly a balance, but definitely, definitely a part of the experience that sounds great. And so the program you're talking about, do you have a set length for that, or is that just until the artist is done?

Until they're ready? Yeah. So it's a 12 week program. Generally, certainly, I've worked with people for shorter stretches of time, depending on what their goals are. But the reason I picked 12 weeks is because in addition to reaching your goals, you're also trying to build a lifestyle where music is more heavily Integrated into your life and my sort of, my motto and slogan, I guess, is live your most musical life, right? So regardless of what you're doing, if you're working 9-5, you're in school, the idea is like, you want music to be prevalent in your life.

So all this to say the reason I picked 12 weeks is because it needs to be some sort of experience where you're building habits and you're actually creating a new lifestyle where music is more integral. So that's the reason for the 12 weeks, that being said for more like short term stuff of just like, you know, I just need to get my music out there. Like, you know, just help me get my music out there. There are shorter programs involved. But I do like that 12 week period for the reasons I just mentioned, yeah.

Just to build the good habits and then kind of set the ball rolling and have the momentum, keep it up. That's great. I think to, that's a lot of artists look for hand holding along the way. But if you can give them that power to spread their wings and fly, that's going to be much more effective because then they will have the habits that you taught them, but then they can branch out and do what they feel is best for their music as long as they keep the momentum.

That's really awesome. Yeah. And the way I kind of describe it to people who are interested in the program is like, they are very much in the driver's seat and the program is kind of the GPS. I think there's no, there's no shame in asking for help. You know, like I, I posted something the other week, like do it yourself, doesn't mean do it all by yourself. You know, there's, there's no reason why you shouldn't go out and invest, whether it's in a producer or mix engineer, whatever it may be or a coach, there's no reason you shouldn't do that.

That's that's a part of the lifestyle and creative practice that you're building. Yeah, absolutely. We love the term, decided yourself that that's what we typically go back to. And it's like there are so many situations where an artist could do it themselves, but either one, it's not going to turn out as well as they hope or two, it's going to take five times as long or maybe even more or both. So in those situations, is there typically a step of the process where you say to an artist, no, this is something you should outsource or do you just assess each artist by their personal comfort level?

Yes, certainly case by case. So if if something is taking a long time, like you're just sort of alluding to, then absolutely, you know, maybe my suggestion would be, you know, what, why don't you record the tracks at home and, you know, all sort of coach and guide you through that. But when the time comes, you know, I'll help you find a mix engineer and you can send them the tracks so that they can actually mix your your songs. So yeah, outsourcing or suggesting outsourcing, I should say, is a part of the experience.

So, you know, if if I feel or if we decide together that outsourcing part of the process is in your best interest. Absolutely, that's the route that we would take, that you would take. So certainly that's a part of the process. Um, and also a case by case basis for sure. Yeah. So I'm curious then some artists just don't want to hand over that control. and it can be a really tricky situation to navigate. How do you handle that when it comes up? I think, just laying out different scenarios, you know, saying, okay, if you did this, if you did outsource your mixing the mixing process a, how would you feel about that?

What would your reaction be be? What would the timeline look like in terms of getting your music out there right versus if you try to continue to go at it alone, you know, what would that timeline look like? What values would come from that, What education would come from that? So, I think just like talking it out and really concretely putting it into packages as much as you can so that someone can be like, okay, yeah, actually this this route sounds good, or this route sounds good, or this route sounds good.

So that's generally what I do, especially like in the first session, it's a lot of like, have you thought about doing this or have you thought about doing that if you did this, you know, how would you feel about that and just really like talking through and figuring out like, you know, what what is the, what is the problem currently? What are some solutions? How could you solve it? And if you were to solve it in that way, what would it look like in terms of execution?

Everything else? Yeah, so basically looking at the pros and cons of each approach and then making a judgment based on that totally and you know, and I think there are certain situations where it's like, no, you should definitely do this. If you're taking 10 years to release a record, then it's like, okay, you know, you should probably outsource the mixing process or you should probably look for a producer, so it's not necessarily black and white, but, you know, I like to I like coaching because it's less about giving the answers and it's more about, like, empowering the person to come up with the answer themselves and to sort of see things potentially in a different way, man, that's great, I love it.

And that alludes to something called the hero's journey, which basically is for listeners who don't know if you're always the hero of the story, you're probably not providing the best value to whoever you're working with. And it sounds like Connor, you figured that out already, Maybe you've even read the book, I haven't, but that sounds, that sounds up my alley for sure. Yeah, and it sounds like that's exactly what you're doing, is you're not saying I'm the hero, I'm going to fix everything, you're saying I'm going to help you figure out what needs to be done.

And I think that's one of the biggest, most important aspects of a good coach because if a coach just does everything for you, then they're not a coach, then they're a manager. Yeah. Or they're a consultant, but they're not a coach. Yeah. Yeah, exactly. Well, so continuing down the path of the hero's journey and you mentioned an artist and I don't know if this is a real situation, but an artist who spent 10 years working on an album. Can you talk a little bit about some of the varied approaches?

You've had to take? Two artists who, you know, maybe they've never done anything before and they just don't know where to start. Compared to artists who have been around the block. But there's stuck on something. Yeah. I think it comes down to sort of similar to what I was talking about, just like outlining the different routes and and asking, you know, what is the reason that maybe certain things haven't happened? You know, if it's a more seasoned person and I think mindset and perspective comes a lot into play, right?

Like for someone who has been working on their album for 10 years or even like three years or four years and hasn't gotten it out there, there's probably a reason for that, and it's probably has largely to do with either fear of reception of how that music, you know, how that music will be received, or it could just be their own perfectionism and obsession with getting something perfect, which doesn't exactly exist and to just outline the different paths and the different possibilities that could come with releasing your album.

Another one of my thesis is that your first album is not meant to be your masterpiece. Your first album is simply you're jumping off point. So if you're trying to get that first album perfect a it's not going to happen, be you'll likely be disappointed. Um and I always say, like, just remember that 10 years from now, you'll probably look back at that first album and not really want to listen to it. And if that's the case, that means you've grown as a songwriter and musician. It's not easy to always come to a point of comfort, you know, for either camp, whether you're someone who's seasoned or someone who's sort of getting started.

But I think the idea is to eliminate the overwhelm, go back to those consumable chunks and kind of just go through, and more often than not when you get to the other side of it, things feel a lot easier because you've taken those steps to get there. I think that's such an important point that you mentioned, artists look back on their first album and say, yeah, that's not my best work. And it also to go deeper into that if you look at most commercially successful bands who are signed to a major label and they've been doing music for 10, 15, 20 years or more, most of them have like 234 albums before they got signed to a major label.

One exception, I can think of as panic at the disco who got magically discovered and their first album was huge. But if you look at, you know, Jimmy World f I taking back sunday, all those guys, they've been around for like 5, 10 years before anything really took off for them. So when it comes to setting realistic expectations, because that kind of goes hand in hand with not thinking that your first album is going to be a big hit and you're gonna be a superstar overnight. How do you walk artists through that?

Because that can be an uncomfortable realization for them that hey, I'm not going to be a superstar next week. It's going to take me five or 10 years to really build this up. Yeah, So there's a couple of things to that one is, I think defining good goals, right? Like sometimes I'll ask people will be like, what goals do you have for this year? And they'll be like, I want to get X amount of plays on Youtube or Spotify And my thinking is, well, you haven't worked on the music yet, You haven't released the music yet?

How are you already jumping to that goal? Right. And so for me, a good goal is something that is within your control. So your creative output is absolutely within your control, right? So anything related to you creating something you taking action is going to be a good goal, right? Something like that. In terms of, you know, the Youtube and everything else, not that that's necessarily something you shouldn't be thinking about, but there's a time and place to sort of set those types of goals, right? And that goal may not be in your best interest because it's also contingent on other people taking action versus just you taking action, Right?

So, I think that's the first goal. The second part of that, to what you're saying about realistic expectations is, okay, let's say that that is your goal. That is your dream. The only way you're gonna get there is by you, yourself taking action first and releasing your music. So, and that's what I always says, regardless with with some exceptions, with some exceptions, regardless of what you want your music career to look like. It's going to start with taking action, it's going to start with getting that first record or single out there.

Alright, that's awesome. And to break that down essentially talking about the difference between leading indicators and lagging indicators. Leading indicators, like you said, that's something you have control over and you can set a goal and say, I'm going to do this, where is a lagging indicator comes from you doing something, but it doesn't mean you're going to hit it because you do this, that doesn't mean you're gonna blow up overnight or get 1000 streams on Spotify or whatever the goal is. So I think that's a really great distinction because a lot of artists do say, hey, I want to hit, you know, a million views on this video or 100,000 views or whatever.

It's like, well, have you thought about what that takes? So I think that's a really important point to discuss with the artists, especially if it's their first time doing this. You know, if they've done it a few times, they're typically, like you said, you learned from what you're doing. So if they've done it a few times, I would hope that they have those more realistic expectations because they know what goes into it. And speaking of realistic expectations. One of the things that I want to talk about is time management, how do you work with artists on time management?

That's a big thing. Like you mentioned earlier, people have jobs, they might be in school and a lot of times as much as people want to do music, maybe full time, maybe part time, whatever it is, they just don't have the time to do that. Yeah, so I think the first thing is I sort of shatter the concept of time management and I like to think of it as self management. I think we overvalue time in business, there's this whole campaign to get away from the whole hourly rate, or just in the professional world in general, because if you can get X amount of things done in five minutes, you know why, why should you need to wait a whole hour to clock out, kind of thing?

Right, So the people I work with, I say, you know what, don't even worry about time, like let's just like forget about time, let's focus on the tasks that need to get completed. So it sort of goes back to the signature approach that I was talking about, picking 3 to 5 missions each week to get done in order to get closer to your goal. We all have the same amount of time, right? We all have the same amount of time. What we do have control over is picking those goals, picking those missions that fit with our lifestyle that can get us closer to the ultimate goal, whatever that may be.

So when I work with clients, you know, there's a couple things I do, one is absolutely sort of not worrying so much about spending X amount of hours on their music, Like I'll get people who are like, well I want to, you know, I want to write songs for an hour each day, and I'm like, okay, like let's let's talk about that, like, if you want to do that, what do you want to come out with by the end of each hour? And they say, oh, I don't really know, I hadn't really thought about it.

So shifting away from time spent and more towards results achieved and I think that's maybe generally good advice and is also the practice that is implemented within my program as well. Yeah, I think that's a great way to look at it because it kind of takes away the expectation of, hey, if I, you know, noodle around on guitar for an hour, I did what I wanted to do, it's like, well, but did you really write for an hour or did you just noodle around? That's such a great way to look at it.

And I'm going to have to change so many things in my day too because like I have things like do instagram outreach for 10 minutes and I'm terrible at doing it. I should updated to like, you know, reach out to 20 people on instagram, so oh man, that's amazing, I'm gonna have to go through my whole to do list and even I do that across the board, like when I hire people from my business, I don't really set an hourly rate, I mean I have a rough idea of course, but it's more do X amount of things, you know, for this amount, and I think that just generally shifting to that makes way more sense to me.

And I think growing up maybe we were conditioned to think that like, oh you need you need to spend time time is what you need time is what you need is the hole, 10,000 hours wasn't Malcolm Gladwell, I think that's what he came up with, right? Um but I don't know, I like to push back against that, I say no, like if it takes five minutes to write that chorus, like you're good, like why why spend more, why spend more than that if you can get it done in five minutes?

Yeah. And that's also a shift we're seeing with a lot of audio engineers, especially mixing and mastering, they don't say hourly, they say I'll mix this song for, you know, 300 bucks or whatever the rate is and photographers to our videographers, a lot of them are just doing project rates because it avoids the pain of having to figure out how much time you spend on something and then do the billing and all of that kind of stuff. It just it adds up and also everyone has their own pacing, everyone works differently.

You know, I'm someone who works very quickly, but you know, my my neighbor might work twice as slowly. That doesn't mean it's better or worse, it's just a different kind of process. So when you think about that, it sort of makes this whole like hourly societal condition we've placed ourselves in to be very weird and suspect. Yeah, there's a great e book, I think it's called Breaking the time barrier. Let me double check that. Yes, it is. And it's a free e book by fresh books. The accounting software for anyone listening, if you are In a creative industry, you know, photography, audio, any of that stuff, it's a great read because it teaches you how to move away from hourly rates to project rates and it's not 100% relevant, you know, an artist moving towards goals because specifically about how to charge your clients on a project basis.

But because so many artists do have side hustles in the creative fields, whether it's audio, video, whatever I want to shout out that book, because I think it's really a great resource for people to read. Yeah, check that out as well, awesome. Yeah. Well, as we start to wrap things up here in general, what would you say? You know, you mentioned the perfectionism and just not being sure how to really handle negative feedback. If that comes the fear of negative feedback. When you talk with an artist, do you have one piece of advice that you give to nearly everyone on how to overcome their fears, whether it's not being perfect or getting rejected, humble yourself to always being the student.

If you assume the role of a student, which we all are, none of us are the ultimate expert musician, it just doesn't exist. And that's the beauty of music is that we can learn for the rest of our lives, right? So we are all students, so humble yourself to be the student. Then your journey becomes more about the learning process, It becomes more about the education and to view it as the long game, view it as something that, ideally we're going to be doing for the rest of our lives.

So if you can settle into that mindset things are going to be a lot more fun because you're always gonna be learning, you're always going to be looking towards that next thing. Like we released a record in february of this year, and now we're writing for the next record, were absolutely stoked to move onto the next thing. So if you can do that, make it more about the education, things are going to become a lot more fun, so humble yourself to always being the student. I think that's great because that goes by full circle back to what you were saying at the beginning of the interview, talking about your story, how everything was a learning experience, that's perfect, totally and still is for the record.

I am, I am with everyone on this journey, like I, I think, and I'm just sharing things along the way, basically I'm there James is there like we're all there and it's uh if you embrace it, it's a lot of fun. Yeah, for sure. I mean, one of my favorite quotes is the day you stop learning is the day you start dying. Keep learning. You know, that's great. I love that because it's so just like, it's just so clear, there's no hidden meaning there. I wish I knew who said it first, it's like every five episodes or so I'm like quote Yeah yeah, no, I love that, that's great.

Well Connor, thank you so much for joining us today. I really appreciate you taking the time out of your morning to chat with me and share your knowledge with the band. I've listeners before we let you go. I just want to shout out that obviously Connor Frost dot com is your site for any artists who are looking for a helping hand along the way. That's C O N N O R Frost dot com. And then your band is dizzy bats music dot com. Is there anything else you want to shout out, share with listeners, websites, tips, anything like that?

Sure. Yeah. So both of those entities are also on instagram, which is sort of largely where I am in terms of social media. So, Connor, L Frost, C O N N O R L F R O S T and then dizzy bats, dizzy bats, music, D I Z Z Y B A T S music. Both of those on instagram. If you want to book a free call with me to create a strategy to get you closer to releasing your first record. Connor Frost dot com. C O N N O R Frost F Rost dot com slash just start J U S T S T A R T. We'll get on a call and will really come up with a tangible game plan to get you closer to your goal of releasing music.

So definitely do that on the website. There's also a free checklist available so you can check that out as well, awesome and that's a ton of links, but as always, I will have them in the show notes. If you go to band, I've got rocks slash 80 that's the number 80 You will find links to Connor's website and instagram, the dizzy bats website on instagram as well as the free strategy session link. So Connor again, huge thanks to you. It's been a blast chatting with you and uh we made some plans to go see a baseball game, so I'm looking forward to meeting you in a couple months.

Yeah, absolutely. No. And summer can't come soon enough for real. Well, thanks again and have an awesome day. Mhm. Mhm. That does it for this episode of the band. I've podcast. Thank you so much for tuning in and listening and huge thanks to Connor Frost for coming on the show and talking about mindset and goals and all the knowledge that he dropped that a lot of artists need to hear. So, thank you again for that. It was great to have him on the show and I highly encourage you the listener to check out his band dizzy bats, take a look at our website.

Follow him on instagram both his personal and his band. And if you feel like a strategy session is the right move for you, go ahead and book one of those at Connor Frost dot com slash just start. And of course, like I said, all the links will be in the show notes at band, I've got rocks slash 80. In the meantime, if you're looking to join a great community of over 500 business minded musicians, just hand over to Bandhive dot rocks slash group or search for banned hive on facebook and you will find our facebook group that we would love to have.

You participate in whether you're sharing your knowledge, asking questions or just there to tag along and see what other people are talking about again. That's banned Hive dot rocks slash group. Or you can find us by searching for bands live on facebook. We'll be back with another episode next Tuesday at 6:00. AM. Until then, I hope you have an awesome week. Stay safe. And of course, as always, keep rockin.