The following is a rushed transcript and may contain errors. It will be updated.

Maximillian Alvarez:

Alright. Welcome everyone to Working People, a podcast about the lives, jobs, dreams, and struggles of the working class today. My name is Maximillian Alvarez.

Jules Taylor:

And I’m Jules Taylor.

Maximillian Alvarez:

So you guys all know Jules as the producer of this podcast, but let me tell you something about brother Jules here. Jules is a renaissance man. He is a podcaster himself, as many of you know. He’s a writer, a music producer, a poet, and a brilliant musician in his own right. And he does all the music for working people as well. And that’s why I really, really wanted us to host this episode together because today we’re actually going to be talking about the work that goes into being a professional musician and the realities of working and trying to make a living in the music industry today. And that industry looks a lot different than the music industry that we grew up with. Those 20th century days of vinyl records and tape decks and CDs and tower records and MTV, man, those have gone away and given way to this 21st century age of MP3s and music streaming, Spotify, Amazon, YouTube, TikTok, Ticketmaster, et cetera, et cetera.

You guys know what I’m talking about. And I love music just about every single kind, and I always have. And I need music to live. And life itself would be so much less, I don’t know, magical to me if I lived in a world without music. And my playlists and my mix tapes are, and have always been, I think of Frankenstein’s mix of just the cheesiest pop, the hardest hip hop and gangster rap, the most classic Motown, the rock and roll, indie, ’80s, ’90s, early aughts, Broadway soundtracks, movie soundtracks. Just like me, my playlists contain multitudes, baby, but I can’t read music for shit and I can’t play an instrument to save my life. So my understanding can really only go so far here, but I’ve always been and continue to be in just total awe of musical people. And Jules, you are a very musical person.

You live this, you breathe this. And we’re going to dig into this more with our guests today, but by way of, I guess, introducing the conversation, if you had two minutes, how would you sum up your entry into the world of music and the good, bad, and ugly parts of your life as a working musician today?

Jules Taylor:

So hey Max, glad to see you, buddy. Man, thank you so much for the invite to co-host this conversation I’m really excited to be a part of. And I guess the short and simple of why I decided to make Go Music is that I consider myself to be, to a certain extent, largely unemployable. And I sort of just dreaded the thought of having to maintain a consistent nine to five, but I knew music was something that I could wake up early if I needed to, but something I would wake up for anytime I could be a part of it. And so in some ways it’s the only thing that I can do, but in other ways it’s also led me to everything else that I do, whether that’s studio work or live sound and eventually things like photography and shooting music videos and podcasting, flying drones and everything that it all kind of just comes back to the central urge of wanting to figure out how to make a living out of taking a guitar on stage and just playing original and covers and seeing how to make a go of that.

Somewhere in there I decided to challenge myself, see if I could actually make a living out of it. And that’s ended up why I produced podcasts too. So many gigs come out of needing other gigs to support the music.

It’s something that benefits you to help support it in some ways. I mean, it’s like a dream, hope and a prayer, but somehow you’re like, “Hey, but I ended up with seven career paths.” So anyway, but that’s how I got into this stuff, man.

Maximillian Alvarez:

Well, let’s talk about this more, right? Because I know I have so many questions and I’m sure our listeners have so many questions. What is it actually like and what does it actually take to make a living as a working musician today? What does the music industry as it exists today take from musicians and take from the rest of us? And what are we getting in return? Is that bargain worth it anymore? And how do the working and living conditions of music makers and all these moneymaking schemes of the music industry, how do all those shape the actual music that we make and consume and listen to and dance to and think to and live to? How do they shape the ways that we relate to music itself? So this is what we’re going to be talking about today, and I am just beyond excited and really, really grateful to be talking with all four members of Veteran Chicago Rock Band, The Empty Pockets.

So they’re here with us now to dig into all this. And thank you all so much for joining us on the show today. And Jules, thank you so much for co-hosting this man. So let’s go around the table and have y’all introduce yourselves and your band to our listeners.

Josh Solomon:

Max, Jules, thank you so much for having us. That was so many insightful things you guys said already. I’m Josh. I’m the guitar player of the Empty Pockets and I started this band with Nate 20 years ago. Our singer and keyboard player, Erica, is my wife, and I have made a full-time living humbly, a humble full-time living in music and the arts for well over 20 years.

Adam Balasco:

Hi, I’m Adam. I play drums with the Empty Pockets, but also as a working band, I do a lot. We all do a lot of stuff that has nothing to do with music. So I do customer service and shipping and we do warehousing. We load our own gear. We do a lot of work outside of just our instruments somewhat, unfortunately. I think we’ll get into that at some point probably, but yes, drums.

Erika Brett:

Yes, we are all Renaissance people, as you said early in this broadcast. I’m Erika. I play keyboards, so Oregon, roads, piano. And yeah, I’ve been a full-time musician for almost 20 years, maybe longer than 20 years. And my big role with the band is graphic design, merchandise development, and social media promotions and marketing. We all have a lot of hats.

Nate Bellon:

Hey, I’m Nate. I play the bass. This is one of my hats. We have a lot of roles and one of my roles is physical maintenance. And so Josh and I actually built the studio room that we’re in, and we have built this room out over 15 years or 16 years quite physically. We literally have done all of the work or very close to all of the work. And it’s just one of the things that you end up doing to become and maintain your status as a professional musician.

Erika Brett:

You’re also the vehicle guy.

Nate Bellon:

Well, that’s true. Yeah. It’s

Josh Solomon:

A physical thing. Yeah,

Nate Bellon:

Physical

Josh Solomon:

Stuff. Nate’s very mechanical.

Maximillian Alvarez:

I mean, let’s not sell him short. We call that the getaway guy.

Erika Brett:

Nate’s perfect for that.

Jules Taylor:

Well, Josh, Erica, Nate and Adam, Matt, it’s so cool to be talking with y’all. And I think it’s funny how immediately in this conversation, there’s a sort of vibe of anything we have to do to keep doing what we’re doing. I mean, that’s kind of the credo around that I think of from time to time. But I guess I have a very broad question and in that broadness, I’d like to invite you to get as specific as you’d like, but said very plainly, how are y’all making this work today in today’s touring climate? So rarely do we get to speak to a band that has been together as long as y’all have. And so in this shared experience of performing, how are y’all contending with this changing landscape? Where have you had to pivot? Not just in rising gas prices and inflation and the evermore difficult task of convincing folks to put pants on and leave the house, but also in the merch game.

I mean, selling your music and physical media at shows has morphed into this sort of t-shirt and trinket hustle at times. So basically the odds of an independent band being successful in air quotes, however we define that, if I’m going to use the word successful in terms of carving out a meter existence, those odds are ever more stacked against us. And so what are you doing differently today compared to say maybe 2005 and where are y’all finding the most success?

Josh Solomon:

It’s Josh here and I’m 41, so 2005, 2006, I’m 20, 21 years old, totally delusional with no perspective on. How do I totally put it? Every time we go to a town, a fan says to me, “Oh, you got to come play in this place.” We’re in a 200 seat venue. Every time a fan is like, “You got to come play this little place in my town.” I look it up. That place he’s talking about every time is 2000 seats. People have zero concept. We’re like a 200 seat theater band. People have zero concept of the amount of things between us and the eras tour. And I think from my perspective, and I’d love to hear what you guys have to say too, to answer even just a part of that question is we’ve doubled down on physical media so hard and we talk to and collect, and this is working increasingly better, I think as a portion of the population feels more and more left out by the commoditization of music.

When you put music on a streaming platform and it’s the same every single song ever made on every streaming platform, which is different than movies and TV, that becomes a water tap and it’s just a price race to the bottom. So we basically, while we put our music on those services from our perspective, that’s like a token.

Erika Brett:

Yeah. We used to kind of be waiting for our prints to come, as some people say.

Josh Solomon:

Attracting an

Erika Brett:

A&R ride. Yeah. We had a song that some radio people were like, “This could be a hit.” And then you’re waiting for that to be the case. Now that wasn’t the case for us, but we were able to, over the course of the last 20 years, but really over the last kind of how you described 10 years, diversify our income streams. We went from playing whatever gig we could get to becoming a backing band for artists with large followings and then opening for those artists to gain awareness and gain more fans and also prioritizing an e-commerce strategy, which is what Josh was talking about, our physical products. And so we’ve moved away from streaming. Streaming is great and we also listen to music there, but for our business, we are directing people to physical products and shows.

Josh Solomon:

Jules, you had mentioned one of the reasons we all get into this is because I just don’t want to go to a nine to five every day. I want to do something different every day. So a couple of years ago, this studio needed repainted. And one of the ways you stay a full-time musician is you don’t hire a painter. You buy some paint and you paint the studio. So I found myself and Adam and Nate here. And Adam, do you remember what you said as we were painting it?

Adam Balasco:

Yeah. I always say I like any job, manual labor, whatever the hardest thing you’re imagining is weefing today, right now. I like that for one day, three days. I’m outside, I’m up on a roof, it’s cool.

A week. Turning anything into a career is so daunting. But yeah, that is how we save money and kind of stay afloat is like we painted that. You were talking about building this studio and then I was like, oh yeah. And then it’s white now because we painted. We painted it and stuff like that is how we’ve kind of taken. And we’re not waiting for that lottery ticket. We would love our song to go crazy on the radio or streaming or whatever. We’re not waiting for that lottery ticket. We’re acquiring fans one at a time and we’re doing all the work or we like to think we’re doing all the work ourselves and we’re desperate in a sense. And

Josh Solomon:

We’re doing it all. Jewels had the same attitude as us in terms of, I don’t want to be a painter for a living. I don’t want to look down the barrel of that. I’m impressed with somebody who can do that. I know some amazing house painters, but I’m not above painting. I’m not above doing some electric.

Erika Brett:

Well, and the thing with owning an arts business of any kind too is that you are going to inevitably become a Renaissance person. You’re going to have to learn about lighting so that you can make videos that resonate. You’re going to have to learn about editing. You’re going to have to learn all of these things about vehicle repair.

Josh Solomon:

The myth goes that when the Rolling Stones got to Chess Records here in Chicago, Muddy Waters was painting the wall. That’s the myth that when the Rolling Stones got to chess in the early ’60s that Muddy Waters was painting. So it’s not new at all.

Maximillian Alvarez:

It’s interesting to me too, because so much of what you guys are saying, even as a self-professed non-musical person or non-musician, so much of what you’re talking about resonates with my own experience as a creative and a creator in media spaces and just that need to kind of adapt to an ecosystem that’s always changing. And there’s always opportunity in that as well as a whole host of new threats and stressors to deal with. It’s wild, man. We’re talking on a podcast I made because I was like, people aren’t reading my articles anymore. And that kind of process has sort of led me to get into audio reporting and now video reporting and any and all of the above I love to do, but there also comes a price with being able to make a living doing what you love. And I wanted to kind of talk about that too, because I can’t speak from your guys’ and Jules’ vantage point.

That is your art. That is still different from the reporting that I do. The two very much intersect. I bring a lot of my artistic heart and spirit into the work that I do, but I know just by being privileged enough to get paid to do that for a living, that it really changes my relationship to the thing I’m doing, to the ways I feel about doing it. And the love when it becomes a job takes on all of that baggage from all the unloving parts of life. So how does that affect you guys as musicians and the music that you make?

Josh Solomon:

Man, what a great question. There’s so many pieces of that. One that comes right to mind to me, and I want Nate to speak on this and Adam as well, is they both had children and we’re on the road and our dreams are kind of coming true. We’re at the London Palladium, it’s sold out, but a month into a tour doing something you love too, there’s an element of, do I love this the same amount today? And I don’t know, Nate, what do you think about, you had to leave your son at home for the first time pretty recently.

Nate Bellon:

Yeah. So my kid had just been born and then we went on tour in the UK for a month and we were in Amsterdam and all over the UK. We took the Chunnel twice. So there was a bunch of stuff where I was like, this is cool. I should be ever present in this moment. And also it’s hard because I wasn’t seeing my newborn kid and my wife and you try and balance that emotionally and then you get to play shows. So I get that sweet juice that I need in order to make it through the next couple of days.

Josh Solomon:

Jules definitely knows this feeling too. When you’re on tour, there’s the same amount of time in every day when you’re at home, except the part that you’re leading towards is like an hour and a half and the rest of the day is leading towards that moment or coming away from that moment. And it is an exhilarating but strange experience.

Jules Taylor:

Yeah. And then you get to figure out that an hour is just a completely useless denomination of time. It’s just not enough to dig into anything. It’s not enough to really relax if you need to, but you have an hour before this one critical thing happens before you have another hour or something. But yeah, I totally understand that, man. Being away from home, it’s difficult to, especially with the sort of constraints that a lean and mean tour might have on its subjects, being away from home, being somewhat restricted in that sense, and being torn between these beautiful things you’re experiencing on tour while also having the regret of having to leave. I got a buddy of mine who plays guitar with Playboy Cardy. The guy is on tour with that guy playing arenas. And even he the other day texted me, he’s like, “My wife’s due in 12 weeks and I leave for tour in 13 weeks or something crazy like that.” But I wonder also, you guys also seem like you’re very chummy, right?

You’ve been together a long time, but I would say that touring and these moments also kind of create friction amongst band members and inevitably you end up with some comical story at some point. Do you guys have a singular story you could pick out of some sort of tense moment that resulted in something hilarious?

Maximillian Alvarez:

And remember, this is a worker and labor focused show. So we’re really talking about, give us a worker’s eye view into the labor of having to go on tour with each other and deal with everything you’re dealing with.

Adam Balasco:

Well, I don’t know. No funny stories immediately come to mind. I’m sure they exist, but being in a band is like doing a group project with your immediate family, which is horrible at times and also amazing. And it’s hard to communicate the band dynamic because it’s like I deeply love these people and we live in a van and sometimes an Airbnb or a hotel. So it’s like –

Josh Solomon:

There’s an interesting balance there too, and I think a lot of small businesses have this balance, like where to put your office, how nice of a neighborhood to put it in, that type of thing. For us, it’s like how much to spend on a hotel, how much to spend because there’s a balance between sustainability, vibe, morale. Man, we’ve cheaped out a couple times and checked into a hotel and you’re only there for 12 hours and it’s just crushing your spirit.

Erika Brett:

Bloody hand prints. Oh my God. Oh my God, you guys.

Maximillian Alvarez:

Jesus, what motels are you guys staying at?

Nate Bellon:

Was that the Bay Bries Inn?

Maximillian Alvarez:

Yeah, I was going to say the Bates Motel, man.

Josh Solomon:

Yeah.

Erika Brett:

We’ve got some horror stories for

Josh Solomon:

Sure. And in terms of from a worker perspective, there’s nothing reasonable or OSHA friendly about how a band operates at our level at all, right? It’s like in the band at 7:00 AM, maybe stop for a lunch. We have a tour manager who does most of our driving. Then before that, it must have been really unsafe.

Adam Balasco:

Definitely.

Josh Solomon:

It

Adam Balasco:

Was just us.

Josh Solomon:

It was just us. And you go to an interview, you load in. The days are 14 and 15 hours. I always call on tour a processing deficit. You can’t even go through what you did today before you get tomorrow. And we’ve learned a lot about how to plan better, about how to demand more. I like to say a gig is legitimate when they offer you a meal. Sometimes you go to a gig and you’re there from 4:00 PM to 1:0 AM and you’re like, “Is there anything to eat around here?” And they’re not like, “Not within two miles.” Who

Erika Brett:

Wants to help with that? Why?

Jules Taylor:

Yeah. Yeah. Or the green room plate of mac and cheese. Yeah. Yeah. It’s a testament every time I talk to musicians, you can tell who’s really giving it a go because they have all of the ingredients for the recipe. They have all the social media, all the marketing. They actually have the website, the domain, the EPK, the video, the bio written by a third party that you probably paid someone for. All of these different things, this elaborate recipe that just equates out to a starting point, right? Yeah. It’s

Josh Solomon:

So depressing. It’s a starting point.

Jules Taylor:

It’s all a starting point. Yeah. Tell me. You

Josh Solomon:

Were using it as a metaphor, but just to exemplify, we’re the empty pockets. We take that seriously. We write about labor issues. Our next album is called Dear Billionaires. And to that effect, especially when we open for someone on a tour, back them up, there’s an elaborate rider in that deli tray and chips, whatever, all this food, fruit. We have permanent coolers. We never leave a venue without as much food and ingredients. We have banned salt and pepper. We literally stop at a picnic table on the side of the road and unpack our coolers, and that’s mostly lunch. And we’ve really embraced that. And

Erika Brett:

We really have to be thrifty in every part of what we do. Not only have the margins gotten worse, like you were saying everywhere, in hotels, gas, food, all the things that make our engine run, but I was watching the Today Show this morning. It happened to be on, and they’re giving financial advice. And without a steady paycheck, none of those things work for us. We can’t go to a financial planner in the same way somebody with a 401k or just even a regular paycheck can. We really have to take saving money and spending it carefully very seriously.

Jules Taylor:

Yeah. It’s just a testament in so many ways whenever I talk to any musician who’s making this go and making it work is that you don’t really need the bosses because the workers can do anything under any conditions with any circumstances that come up on the road with unsure pay and just questionable sleeping conditions. It’s like where there is determination and this deep written desire to create music and to do this as a main vocation, as a focus, as a primary way of living your life. It’s just a testament to the incredible sort of willpower that comes from artists who will do anything to continue being able to create art. And so I’m not worried about a dictatorship of the proletariat at all because have you seen some of the musicians we talk to people?

Maximillian Alvarez:

Well, that’s what I wanted to ask about actually, is because music, as far as any of us, and I say us as musical and non-musical people, but living in America, having the culture industry that we have, music was as much a potential career path as being a famous actor or a famous athlete. I mean, there is a sort of level of super stardom that was selectively occupied by people like us, it seemed, growing up. And it was possible to play music that was so good that reached so many people that you could make not just a living, but a superstar’s living. And you could have all the security you could ever need and the fight from your humble beginnings and insecurities would all be worth it if you made it to that star echelon. I mean, same thing goes for the way I thought about being a professional basketball player with my brothers for many years growing up, or even people now who are in the media and see the media as the only path for success in journalism or in the media is the superstar path where you’re getting paid so much and you have such a far reach that you’re Joe Rogan and you can kind of have that echelon that none of us are ever going to ever reach.

But I say that all to say, obviously there’s always going to be a lot of folks who still look at these industries and vocations and arts and sports this way, but I think the veil’s been lifted for a lot of us and we’re like, “That ain’t happening. I ain’t making it and no one else is making it in today’s economy in that kind of direction.” And there is a lot to be mourned about that, but I think there’s also something that’s very liberating when we are not pursuing our passions out of a place of desperation or out of desires for lavish, luxurious, ridiculous wealth. And that struck me in something that I’d heard y’all, Josh and everyone with the empty pockets is not something that you’ve been aiming for, but you want to make a good middle class living. And so I wanted to kind of meditate on that.

Once we sort of recalibrate our visions, our imaginations and our hopes for what we want to do with this, what does that give you back that a career trying to make it in a Spotify age as a superstar would take from you otherwise?

Josh Solomon:

Yeah, totally agree, man. I like to think of it also, it’s like becoming an astronaut to say, “Oh, I’m going to go have John Mayer’s career or I’m going to go have Taylor Swift’s career.” It’s absurd. More than ever, and I think it’s good, the niche-ification of taste has made it so there are even fewer superstars than there used to be. There are very, very few superstars. Like I said, when I was in my 20s, I had these delusions and I let those go and I discovered about myself. And I think you guys would agree that more than the massive success, because for the most part there are exceptions, that comes with chains, with you were successful in this lane and now you have to deliver this thing. Brilliant people like that guy Larry, the cable guy, his persona, you’re stuck there. You have to deliver your thing.

What I want more than anything else, which we have a lot of, is freedom. We make enough money to get by, but we can do whatever we want. Our biggest constraint artistically is ourselves. That’s what keeps me going.

Nate Bellon:

Jules, you had mentioned it previously, the changing landscape of the music industry. And I think one of the things, because we started as a band in 2006, so the music industry was literally falling apart or had already fallen apart and some of the gatekeepers or higher ups hadn’t admitted it to themselves. The nature of the landscape was changing. And so we found that certain people that we would hire in positions, that’s their mindset. Let’s get you to superstardom level. And I feel like going through that cycle a couple of two, three times, we were able to not only learn, but then solidify both in our minds and then out wow later, here’s what we consider success.

Josh Solomon:

It’s such a good point.

Nate Bellon:

If we can just do that, we’re a success.

Josh Solomon:

And philosophically, when Eric and I met before we got married, one of our first dates, we went on and on to each other about scale. And Adam feels passionately about this as well. There are certain things in the world that need scale, right? We shouldn’t do small businesses to get to the moon. I get that. We need a certain amount of scale to make computer chips, but that doesn’t mean every burger joint and coffee shop and bookstore needs to be scaled. And there’s an element, okay, we have economies of scale on one side, but there’s an element of massive inefficiency. And what we found, and we keep finding in entertainment in general, is that the basic strategy to make someone a superstar is brutal Millions on raw awareness. Blanket,

Erika Brett:

Blanket marketing.

Josh Solomon:

That’s why people get annoyed about hit songs because they’re hearing a song over and over again that’s not even meant for them. Nobody wrote Espresso for me. There was, but why did I hear it a hundred times? I wasn’t interested. I gave zero indication of the choices I made in my life.

Erika Brett:

Sabrina, it’s for me. It’s for me.

Josh Solomon:

And we have the ability with technology to target so accurately now. So the major labels, including big movies, Marvel movies and stuff, they’re all still doing this super inefficient. And we’ve decided the opposite. We want to build our small business and keep building it, getting razor focused. We get new fans every day and we’re trying to maximize their fandom of us and their value to us, but without worrying about getting to 10 million people a year.

Erika Brett:

What I think you guys will appreciate is that we are a band and yes, we’re making music, but we took e-commerce strategies that are not based on music, that were based on books or smaller items. And we kind of did our own authentic application of that for our career. And that has allowed us to expand our audience and find our audience through advertising, targeted ads and word of mouth.

Josh Solomon:

Touring is about 40% of our revenue. It’s something like that. A lot of our revenue is physical music and a lot of that is shipped from here. I’m talking about vinyl, talking about CDs. Not as many for us. It’s a different type of band, not as many t-shirts for us. So I’d love to do more shirts. And that’s all about just using classic commerce, e-commerce and marketing logic to build a fan base in the same way that a book company or a razor company would build their fan base.

Jules Taylor:

I love that y’all brought up Sabrina Carpenter because she was not on my radar. And then this last album dropped and her marketing was all over the place. And I just slowly got initiated into the house tour track and the one where talks about maybe it’s slow or whatever, but now I know her lyrics. I know her visual signature. And it’s funny. Come on,

Maximillian Alvarez:

Man. Manchild is a bop. The

Jules Taylor:

Whole album is great.

Maximillian Alvarez:

Manchild is such a bop. It’s such a bop. Men today need to hear it. It is an anthem for the ages. That and Olivia Dean’s Man I Need are two of the most essential songs that every fucking man who is alive today needs to hear. And I don’t think it’s an accident that our zeitgeist is producing such desperate, beautiful please from women for men to fucking be better. And I think it’s through music where a lot of men learn that kind of thing. And I think that’s a good thing. I don’t mean to stand on a soapbox here, but I didn’t realize I was going to defend Sabrina Carpenter so virulently, but you guys stirred me up, baby.

Josh Solomon:

And this newer album is fantastic and there are all these, you’re right, that thread is all around music. Taylor Swift, Olivia Rodrigo has that same vibe. Maybe men will listen. I don’t know.

Maximillian Alvarez:

They will. And I think there’s honestly, and I’m just speaking personally here and then we’ll kind of bring things around the final turn here because I can’t keep you guys for too long, although I could talk to you for hours. I think I had reached a state of exhaustion recently and it felt like almost a decade long period of cultural exhaustion. And I don’t think I’m alone. I think a lot of us felt that and we receded into it, especially with COVID. We watched the same series that we already had seen, movies we already knew, songs we already had on our playlist. I know for myself as a lifelong lover of art and culture and new things, I really retreated. And I think part of it, not all of it, was fueled by the sort of feeling that it’s like nothing’s good anymore or the quality of everything is sucking just a little bit more each time and I’m not participating in it damn. I’m going to hang on to the things I know are good and just listen to those for the rest of my life. So that’s the kind of petulant place that I was in as a modern music listener. And again, I feel like I’ve talked to a lot of people who felt that same way. And I think that actually the Spotify algorithms and stuff sort of reinforce that sense of just playing the hits or trapping us in these silos, these cultural silos, instead of getting to explore and experience and find bands like yours that we would like but have no idea exist.

And I know that people are looking for that, they’re hungry for that. And I am so goddamn grateful when I hear it coming out of my speakers. And I guess to just tie a bow on the point, I’ve been hearing that of late with some songs that have given me some hope in pop culture of late. And I think a lot of it goes back to Olivia Dean, Rodrigo, Sabrina Carpenter and the somber. I think there’s a lot of necessary cultural discussion that is happening in and through those songs that needs to be had and isn’t happening in enough places. So I thank music for that. And I wanted to sort of bring us back around to that sort of beautiful, necessary part of what music is for all of us and what we look to music for. And I wanted to ask y’all, all of you, Jules, you’re included in this.

I’m roping you into our final round, but let’s start with what is your least favorite part about being a working musician and what is your favorite part that makes that and everything else worth it?

Adam Balasco:

I’ll start and say my least favorite part of being a working musician is that it made music work. And this was alluded to earlier, but I leave here a lot of times and I put a baseball game on or sports talk radio on or something like that because this saps a little bit of my musical energy. And so anyone who has a nine to five job and you get a pizza and some beer on a Friday night, you play music with your friends, know that I am so jealous of that. And the magic in that is a little bit lost, I will say. We’re

Josh Solomon:

Almost chasing that vibe.

Adam Balasco:

Yes. And paradoxically, and I love paradoxes, again, the strength, the weakness, the pro, the con. I always say we are band. We’re arts kids. We all committed to being artists. We’re artists. And the irony is we ran headfirst into running our own small business. And I was playing around with spreadsheets and exporting CSVs this morning as Ari was doing her design work as Nate is patching a hole in the- The

Erika Brett:

Asphalt.

Adam Balasco:

In the asphalt in the parking lot. And Josh literally has his hands on all of that stuff. And to me, it’s both. I like that. I like doing the spreadsheets, but also we do this, we do the drums and stuff so, so much less. It’s like a fraction of what we do is play music. Mostly we’re running a small business.

Josh Solomon:

What a great answer. I think my least favorite part or one of my least favorite parts is feeling like I’m getting in the way or looking down on or condescending in any way to the hobby musician. So it’s a similar thing to you and while not getting invited into the hobby musician world anymore, both the combinations. So it’s really similar to what you’re saying. You know what I mean? And when I do get invited to the dudes who didn’t great musicians who now do other stuff, maybe it’s just in my head, but I feel a little bit like I’m intruding. I don’t love to do. Erica is such a great singer and she doesn’t love to do karaoke and everybody goes crazy, but it feels like, am I intruding on this space? The paradox.

Nate Bellon:

Yeah. The least favorite part for me I think is early mornings, late nights while you’re chugging it out on tour. And sometimes those can become never ending based on the schedule. I don’t deal well with life without my, I don’t know, 10 hours of beauty sleep. You don’t get this good looking without a lot of sleep is what I’m saying. And so everybody out in audio land, I’m gorgeous.

Adam Balasco:

Very attractive mate’s very good.

Nate Bellon:

I’ve been compared to the Greek gods of old. And so the early mornings, late nights, it just kills you after a while. Every one of us, if we’re out for long enough, you get sick. And then you’re spreading sickness around the van because you’re all just sitting in a dumb van for hours. I don’t like that part, but it all pays off because while you’re on the road, you get the purest of the sweet juice, which is you’re playing music live and you all enter this flow state together and you’re creating art that may never exist again in this moment. Worth all of that early morning, late night stuff.

Adam Balasco:

And let me just cut off Erica really quick because we’ll get to Erica. Nate went there. So let me just say in case my wife listens to this, I miss my wife and children when I’m on a road. It’s the real answer. Sorry, Erica, go ahead.

Erika Brett:

Good job band. Good job. Mine is similar to dates whereas he was talking about late night, early mornings. What we do, the travel and the carrying of equipment and gear and bags that we do is hard on the body. And we went in age order in this wrap up and I’m the oldest. And as we get older, taking care of your body has become much bigger of a priority. And it turns out it serves the music part a lot. A lot, a lot, a lot. You need to be in good health. You need to be in good shape. That’s

Josh Solomon:

Such a labor issue across the board.

Erika Brett:

You

Josh Solomon:

Have to take care of your body to keep being whatever profession it is you are.

Erika Brett:

And I had to do a lot of doctoring personally. I have a lot of chronic health stuff, so it’s been a lot to navigate. You come home from tour and you’re rushing appointments in and you’re trying to do things that you can apply on the road. So it is really difficult. But that being said, it’s led me on a path to be stronger physically, mentally. And the best part is being on stage, connecting to my best friends up there, the new friends in the audience, and feeling this cosmic moment that we share and no one can take away from us no matter what happens. It’s a radical act of joy and in a time where there’s fascism coming our direction in many ways, what we can do is create and give and be with one another and love one another.

Maximillian Alvarez:

Well said.

Jules Taylor:

Excellent. Yeah.

Maximillian Alvarez:

Beautifully, beautifully put.

Jules Taylor:

Man, well, to follow all that up, man, I guess my least favorite thing about being a professional musician is that everyone sees the work as play and then. So one instance of this is that I think of myself somewhat like a carpenter in the sense that I have a truck and I have all of my tools in it. And I drive around and it’s a beat up vehicle that takes me from contract to contract where I unload my stuff and I plug in and I do what I do. Right. But if I get pulled over, I’m not a worker all of a sudden. I’m a long-haired guy that probably has some weed in the car and I ain’t out doing shit. I’m out playing is what I’m doing, not working. And the whole small business thing behind stuff, man, it gets rolled real fast being the envy of every married guy being like, “Oh, you have so much freedom and you just go play music.” And it’s like, “No, man, I have bills, dude.

This is work.” But not only that, it’s like, “You must have so much fun doing this.” I was like, “Oh, you think I have fun trying to write heartfelt poetry?” I take this work more seriously than anything else in my life to where this pen and paper has ruined me. Putting pen to paper to put down some sort of heartfelt poetry that can also be abide by attaching melody to where I can go out and project that into the world for that singular cosmic moment that I live for, that is work. And people somehow think I’m enjoying the process at times. So yeah, it’s a weird paradox, man, because it’s like you’ll always be a disappointment to your parents who wanted you to become a doctor, but somehow you have to hold the knowledge of a doctor and train yourself physically to get to this apex of performance and you’re 40 now.

And you do this and somehow there’s still people that look at you and they’re like, “I don’t really understand what this guy does.”

Josh Solomon:

So spot on, Jules.

Erika Brett:

Someone said that to me in a mall once. You’re still doing that?

Jules Taylor:

Yeah. But it goes like, “Oh, you’re still doing the photography thing?” “What do you mean I’m still doing the photography thing? “That’s a vocation. It’s a career path. It’s a form of art. Yeah, I don’t know, man. But when you do have a choice in this world of pouring over Excel sheets or breathing in toxic chemicals, it’s like I’d rather the Excel sheets be my Excel sheets. I’d rather all this stuff be for me and that’s where I’ll work 80 hours for myself so I don’t have to work 40 for somebody else. Yes.

Adam Balasco:

Give me some toxic chemicals with those excels.

Josh Solomon:

I want to do it for myself.

Erika Brett:

You could talk about the baseball card gum that he ate that was like 10 years old.

Josh Solomon:

Great point, Jules.

Maximillian Alvarez:

Amen. Sadly, if you listen to a lot of the interviews we do on this show now, you’ll realize that we’re all getting blasted with toxic chemicals, whether we ask for it or not, but we’re all going to be part of the fight to stop it. And we all got to be part of the, I think, solution to our own critiques of the culture industry and the music industry especially. And I would say the same is true for media and journalism. You are right to not like a lot of the things that are unlikable, but if you want the things you like to continue to exist and flourish and give you what you get out of them, you got to support them. I mean, that’s true whether you’re talking about this podcast, The Real News Network, Jewels’ musical work, The Empty Pockets is musical work, independent creators everywhere.

If we don’t have your guys’ support, there is a very real chance that we’ll go away or stop being able to do what we do, even though we love what we do and we love doing it for you and for anyone who will ever hear it, see it, learn from it, get something from it. We’re in it to win it, baby, but we need you guys to be part of it. We do it for you, but we can’t do it without you. And so ending on that note, I wanted to just say that for any journalists and media makers and people who are interested in making a career out of that, since it’s the one part of this discussion I can speak on, the advice I tend to give people is that don’t commit yourself to doing this for a living, commit yourself to doing it to fight for life and follow where that leads you.

And in fact, it may be right and good and better for you to have multiple sources of income so that you don’t have to make the object of your devotion and your skill serve all these other ends, which means you’re not going to be able to do it the way that you want to. The work is going to suffer, you are going to suffer, but there are still some pathways available to come join me at the table of the suffering and do this work professionally. But they are so few and far between and the ecosystem is changing so much. So I can’t in good conscience advise anyone or coach anyone on that. I can just tell you that I am what I did to get where I am, what I think we all need to do to do the work that needs to be done, but the future is never assured and we don’t know what the landscape is going to look like in the coming years.

So that would be my central advice is you got to make a living however you can. And if you’re committed to this, do it, but don’t make it all dependent on your ability to make a living from it because that may actually be more of a devil’s bargain than you’re looking for, and it may take the love of this from you. So just be very mindful of that. And now to all the musicians, the artists, the creators who have been listening to you brilliant people talk about your working lives for the past hour, I wanted to kind of give y’all the last word on that, like any sort of advice you would give to other working artists out there or other folks who want to make a living making art. And also please tell our good listeners where they can find more of you and your art.

Jules Taylor:

And the new album.

Josh Solomon:

We’re the empty pockets everywhere at theemptypockets on Instagram, theemptypockets.com. And we have a new album out on Friday, October 23rd called Dear Billionaires. It’s our musical letter to the 3,600 billionaires in the world. I would say to all musicians aspiring of any kind, I increasingly agree with you, Max, and I have met more musicians, younger people that are saying, “I’m going to commit my life to music, but not commit my financial earning to that.” And I think there’s a lot to be said there. And I think it’s worth saying from our perspective, we are a very middle class band and yet still, I can think of dozens of times where we were so lucky where I look back and I think, oh my God, that happened and that happened. And then we toured the UK three times or that one thing got us 200 gigs.

So you got to be there. You can make your own luck, but still nobody’s getting anywhere on their own. A ton of people have helped us and we’ve gotten very lucky.

Adam Balasco:

I would tell artists, anyone trying to make it have realistic expectations. And I think for a lot of people that means coming to grips with you’re going to make $20,000 or something like that. You’re going to have to live on that if you want to be an artist for a good amount of time. And the harsh reality is, well, I think it’s kind of, again, paradox is uplifting and it’s harsh. A lot of people, I would say your art is fine. There’s great art everywhere that you’ve never heard of or seen. There’s great artists everywhere. A lot of people, if you really want to make it work, if you’re committed, you need to kind of treat it like a small business or something and treat yourself as an artist like a small business. And we don’t want to do that. We hate pricing of our artwork out.

It’s hard, it’s tough. But that’s the reality is good art’s everywhere. If you really want to make it a business, make it a business. Good luck. Stuff.

Erika Brett:

Yeah. I would say to piggyback off that, that balance is really important. Commercialize what you can so that you can keep making art, but don’t lose the joy if you can’t.

Josh Solomon:

Or find the perfect balance.

Erika Brett:

Or find the perfect balance. And I also agree that artists need support and that could change the world.

Nate Bellon:

And let’s not forget, the album comes out October 23rd.

Erika Brett:

You can reorder it now.

Nate Bellon:

If you want to pre-order from us, you can go to our website, pre-order it there. I have also been telling people to go to their local record store that they like to go to and request the album, pre-order it through them. Keeps the local economy going. We love local record stores. We want to build relationships with them. And we also want you to spend your money at a local record store.

Josh Solomon:

And we can say exclusively here, we haven’t said this publicly at all, we are going to be releasing a special variant pricing. So I want to make it clear, the physical CD is exactly the same. It’s not signed, it’s not deluxe, but we’re going to sell it to billionaires. If you are a billionaire, you can get our album, which we’re selling for $20 for $285,000. So that’s going to be on our website next month, and I’m pretty sure some billionaires are going to want that. They know they’re superior, and so they know they need a superior version, which is actually the same, but costs $285,000.

Nate Bellon:

I would welcome billionaires of all stripes to go ahead and take advantage of that billionaire pricing. And we handle all the packages. So if we see any billionaires buying the regular, we’re going to see that and we’re billing you. I’m not sending that

Josh Solomon:

To you, Elon Musk.

Nate Bellon:

No way. Jamie Pritzker, come on, man. What are you doing? The right version. We have a billionaire version for a reason. And to all the musicians out there, I would say continue to practice your dream, go after it, but also diversify your skillset as much as you can because you never know, A, what skill is going to become handy at a gig, on the road, dealing with merchandise or recording people, dealing with people inside the business. Diversify your skillset as much as you can and get ready to make a lot of bean recipes for 10 or 15 years. You can live on a lot of beans. It’s going to be fine. You’re going to make it just beans.

Erika Brett:

Yeah, be a learner. Be a learner and eat your beans.

Nate Bellon:

Eat your beans.

Maximillian Alvarez:

All right, gang, that’s going to wrap things up for us today. I want to thank all of our guests from the great Chicago rock band, The Empty Pockets, Josh Solomon, Nate Bellin, Adam Belasco, and Erica Brett. You can go learn more about the Empty Pockets and you can check out more of their music. Just use the links that we provided in the show notes for this episode. And of course, I want to thank you all for listening, and I want to thank you guys for caring about this. We do this work for you, but we cannot do it without you. Working People is a proud member of the Labor Radio Podcast Network, and it’s brought to you in partnership with In These Times Magazine and The Real News Network. This show is produced by the one, the only, the great Jules Taylor. And man, Jules, thank you so much for doing this episode with me, brother.

I though that was awesome.

Jules Taylor:

Yeah. I always love talking to musicians in the sense that they have their ear to the ground for alternatives to wage slavery in this cursed system, man. And so however they can gain traction, however they can get ahead, however they can make things work, it’s not so much a picking of the brain of music theory or what music you’re listening to that happens within conversations with musicians. It’s more like, “How are you doing this? What are you doing? What’s working for you?” So it was really great to hear that from a band that 20 years, that’s a long time to be together. So definitely some cool advice in there and some really cool moments as well. I really appreciated being a part of this.

Maximillian Alvarez:

Oh yeah, man. It was great. We got to do more like this. And before we wrap this thing up, I wanted to ask where can people find more of your music?

Jules Taylor:

You can search my name on any of the streaming things or you just go to my website, which is julestaylormusic.com.

Maximillian Alvarez:

We’ll see y’all back here next time for another episode of Working People. And in the meantime, go explore all the great work that we’re doing at the Real News Network, where we do grassroots reporting that lifts up the voices and stories from the front lines of struggle. Check us out across our YouTube channel, our different podcast feeds, our website, and our social media pages, and help us do more work like this by going to therealnews.com/donate and becoming a supporter today. I promise you guys, it really does make a difference. I’m Maximillian Alvarez. Take care of yourselves. Take care of each other. Solidarity forever.