Bryan Greene

Holy shit, Paul, you did it.

That's an interesting statement that you just made and one that I don't think I've heard before, but makes a lot of sense if you follow the industry and you understand, especially what a lot of musicians have been talking about for years.

And that is that these big stadiums, even the medium sized rooms, the expense involved in putting on a show and getting there and getting the rigors and all the stuff, right?

Everything from, you know, craft services to, you know, having making sure there's some food in the dressing room to all this other stuff.

and the immense amount of money that the ticketing agencies and the arenas themselves and the production companies take away from every single seat sold in the building makes it almost if you break even you've won the day like you've won if you almost if you break even you think that oh he's selling out the o2 arena he just made six million dollars that's likely not true right it's likely

That you broke even, but you did it because you could do it.

It's almost like it's a little, it's a flex, it's a statement, and hopefully an attention grabber for the next big thing that you're going to do.

She charges a million dollars a corporate gig.

Do you do corporate gigs?

Are you open to the idea?

You know, I understand it, though, because when someone's waggling a check in front of you and all you have to do is just go up there, knock out 30, 40 an hour, whatever you're contracted to do, and...

You know, you're not taking, I mean, you would like to think you're not, it's not like you're doing something outside of the norm of what you would do.

You're just doing your act in front of a smaller crowd that's paid you to do it.

It's almost in some sense, you know, that's, that's like just icing on the cake.

You're walking, you're knocking it out.

But why did you get attacked?

Of course, yeah, go for it, yeah.

No.

Yeah.

Listen, I saw Chris a couple weeks, a month, whatever.