Coldplay's never-ending world tour keeps selling tickets; K-Pop Demon Hunters!; What on earth is "speculative ticketing"?; Bandcamp's $3.5m Friday; and has Steve actually “gone deaf for a living?”

0:07Hello and welcome to the Price of Music brought to you by Music Ally the show that's fascinated by the fun and games and finances of the music world, as explained each week by me, Steve Lamack, and him, Stuart Dredge. If you want an easy guide to what's going on in the music biz and how it all works, then here we are. Although I've been a little bit out of the loop this week because I was away for a few days before having to come back to London for my mandatory BBC hearing test on Friday. Oh, wow. No jokes, please. You must have had a hearing test at some point, Stu. Yeah, it's been a while. Yeah, what does it involve?

0:44I remember I had one a long time ago, and they said, oh, you've lost this frequency because of going to concerts. Right, yeah. You must have lost more frequencies than I have going to concerts. Well, this is the strange thing. I mean, so the test is just you put a pair of headphones on and they play you a series of bleeps and noises, which progressively get quieter. And the guy, there was a young guy, really nice fellow, making notes on his laptop. And all the time you're straining to hear whether there's some tone which you can just faintly make out. But then he showed me, obviously, there's a piece of software, I guess, which then produces kind of an automated result.

1:22And it said something like, warning, potential hearing loss or something. And he looks at us as I was looking at that. And he said, it's all right, we haven't factored in your age yet. And he pressed a button that said 60. And all of a sudden, everything's fine. And he just said to me, yeah, your hearing's fine. You can go. hang on a minute that was the end of that aren't you the man who wrote a book called going deaf for a living i'm calling fraud on that you're not going deaf for a living well i've got no right to have reasonable you know hearing by this point but it turns out uh as he said uh your hearing's fine for a man of your age uh anyway coming up this week secondary ticketing ban camp china's version of Spotify's booming, Taylor Swift's secret negotiating weapon, and a quick mention of badly sequenced albums, because we have a brilliant suggestion from one of our listeners.

2:16Thank you, Ben. We'll come to that in a second. First, though, and you suggested coming back to this topic, because we rather threw this away last week, but it will include some big figures. It's Coldplay's run of 10 sold-out shows at London's Wembley Arena, which, I mean, in news terms has been slightly overlooked in all the in the cascade of oasis stories but it's no mean feat is it this can we can we crunch some numbers involved with this run of shows yeah we can so i've got two big figures the first is 400 million dollars and that is how much coldplay made from their tour last year alone elsewhere in the world it was top of billboards like tours list so there was a big asterisk there and they didn't have the numbers from taylor swift in yet right i think she probably was the biggest tour but they were 400 million dollars but yeah the other thing is yeah playing 10 nights at Wembley and two in Hull.

3:05Interesting, which is kind of, I think, the sort of warm-up. The warm-up gigs are playing a 12 ,000 stadium in Hull. So, yeah, so the other big number is 900 ,000 people are going to see it at Wembley. So the capacity is 90 ,000. Yeah. Ten nights. I'm not sure. I was going to look up, has anyone ever done more nights at Wembley in a single run? I'm not. I remember Robert Williams did some, didn't he? How many do Oasis do? They've done, they're doing seven? How many have they done so far? Five, and they're going back to do a couple more, I think. So yeah, roughly seven somewhere. But it is, I think, like you say, it's underreported.

3:37I wonder if that's because Coldplay have never been away. They've basically been constantly touring, haven't they? I mean, this tour feels like it's been going on for years. I mean, it must be two years in by now because they keep going round and round the world, it feels like. Yeah, and the other good thing, I was reading an interview this morning. I think the NME had, I don't know if it was an interview, they had some quotes from the tour programme, but it was all about the angle that the grassroots venue donation stuff. so from playing to these i think it's i did up it's think it's 924 000 people if it's also up 10 of their profits are going to the music venue trust yeah so which i think and i've been looking like how much is that and even the even mark he didn't know how much it would be it depends on the cost of the shows and everything like that but it's going to be a huge donation that's actually going to keep some small venues open that were closed that's what he said yeah So that's the other thing here, the big numbers around the fans.

4:31It's going to actually save some small venues. Yeah, I mean, I think you have to give a lot of credit, I think, to the band and the management for doing this because, I mean, it essentially recognises where they came from, I think, because Coldplay, like, you know, so many bands started out in the pubs of London. I first saw them at a venue called The Falcon and then The Bull and Gate in Kentish Town, and neither of those are venues now. the Falcon is flats and the Bull and Gate is a gastropub. And they did that tour, didn't they? Which, did you see them on this tour with Terrace? Do you remember?

5:06I saw them at Yulu, yeah. University venues are not quite the same, but yeah, that was my first tour. I think they did, yeah, they did a tour where they did, you know, venues. Again, some of which aren't there anymore. The Princess Charlotte in Leicester, I think, was on that tour. And that's no longer there. So, yeah, I think you have to applaud them. I mean, hopefully, you know, more bands are going to follow the lead. I mean, it was Enter Shikari, I think, who first committed to giving a pound from all of their ticket sales to the Music Venue Trust. And now, of course, now we have the Live Trust, which is the charitable trust set up by Live, which is the Live Music Industry Trade Body, again, to allow artists and promoters to contribute one pound a ticket from stadium and arena gigs to a fund, which will then be distributed amongst the main players in the grassroots ecosystem.

5:57So venues and artists and promoters as well. My Chemical Romance, do you notice they've recently become one of the bands who've committed to giving a pound a ticket from their shows as well. And they're big old geeks, them geeks. But yeah, well done. Well done, Coldplay. Anyway, here we go. After much deliberation, here's our top three news stories of the week. starting with this secondary ticketing firm stub hub has been in the news for well several reasons some less positive than others uh can you explain very quickly who stub hub are and what they do yeah so stub hub is one of the biggest or probably the biggest secondary ticketing firms so they have a platform where you can go on and sell tickets for events and people can buy them and they can be priced whatever you like they could price like higher than they would have gone on sale before and that's obviously quite a big a controversial area there's been a lot of talk about are these are these companies helping people to to basically screw fans you know making them pay so that's the key thing these are platforms so people go on who have tickets to sell people are going to buy they're not selling the tickets themselves they're providing the platform which is one of those ways where you can end up saying well it's not our fault what happens here we're just providing the space.

7:17So yeah, the big story is a financial one. It's going public. And this has actually been coming from a long time. So it wants to become a public company through an initial public offering where it basically sells shares to investors and the public. And it's been rumour for ages, kept getting delayed. And earlier this year, it filed for this IP. You have to basically do a filing saying, we are going to go public. Here is all the information investors will need. And they've just refiled that filing. Refiling the filing, that's an album title. which suggests two things. It means the IPO is back on.

7:48They're going to go public. Maybe as soon as next month, according to some reports. But it also gives us some new numbers on how big stuff is, how many tickets are being sold. So I've got a bunch of those numbers. So in terms of the amount of tickets, so essentially they host the people who are trying to resell. They give a space for people who want to resell their tickets, which, I mean, loads of people are doing it now. But what are we up to then? What's the stats? And I suppose they've been waiting to get big enough that investors will want to pull their money in, are they? That's it, yeah.

8:27So last year, more than 40 million tickets were sold on StubHub, and that's$8.7 billion worth of sales. There's a term for which I agree with. That's not their revenues. Their revenues are like 300 and something million because they only keep a small percentage. but and that is and like you say it's it could be me if i have a cold play ticket for wembley and i can't go i could go on to the pub and sell it but it's also the the controversy comes when it's companies whose businesses buying and selling tickets like making a profit and some of those companies have an absurd amount of tickets to sell people say how did you get all those tickets so that those 40 million tickets some of it is just people selling tickets they can't go to anymore but other things are commercial operations yeah which which brings us to the other the the other story isn't it which um is well there was was it a guy was trying to sell was selling about 300 tickets for a lewis capaldi show um and did he even have the 300 tickets well i don't know but this this is the can of worms isn't it and this is this is the problem with stub hub and i imagine via gogo as well is when people are using it for a profit brutally using it as a part of their business plan well this is it so lewis cabaldi obviously just come back after a big hiatus and his ticket his gig sold out in you know matter of minutes when they were announced and yet there was a company selling tickets via stub hub um and they had 306 seats for the first night alone and they were selling them for like more than three times their face value and yeah you're right it's two things either they got hold of 306 tickets which is actually it's very hard to do that legally like there are limits often there's you know six per purchaser and that's what we're quite used to that now so either they got hold of tickets and no one's quite sure how and what tactic season they may be illegal or they were listed in speculative and the speculative ticketing is a phrase here where you don't own them yet you're just listing it you will sell them and you will get them and so you're listing something you don't own and And both of these things are a big legal headache, both for StubHub and for the people selling them.

10:33I think the Guardian did an investigation and said, we found these listings. And we're like, how do they get these tickets if they have them at all? So what happened was StubHub removed the listings after being contacted. And it said that it doesn't allow people to do speculative ticketing. It doesn't allow people to list things they don't actually own to resell. But all of this is fueling in the UK, but also elsewhere. there's a big call to reform that how should these companies be regulated should it be more stiffer regulations on all this which kind of comes back to if you're trying to go public and you're trying to get people to buy shares in your company this sort of stuff regulation is is is a headache for you because you might and and that's why stub hub figure all these companies they have a lot of people working as lobbyists to kind of convince politicians not to regulate the way they want they they have a lot of they put that stuff out in research saying look here's how we do is positive lots of research coming out these companies say we're brilliant so it's a very very big operation in terms of the i guess the pr and the courting of politicians to say look don't crack down on us we're good we're not bad but every time these reports come up i think everyone looks at it and goes that doesn't feel fair that there's 306 tickets it's amazing this gig that everyone wants to go to yeah in terms of value so it's a it's i mean it's it's interesting It's interesting timing if it is happening in the next month because also, and I don't think there's ever been a point where people have been more aware or more annoyed by secondary ticketing because I think post-Oasis, it was the Oasis bun fight which brought this back into public focus, wasn't it, I think?

12:08And also brought it back into the minds of government. I think Labour in their manifesto has said, we're going to look into secondary ticketing. But post-OASIS, even MPs were grumbling about not being able to get tickets. Since then, obviously, the Labour government said, well, yeah, we're going to look into, and they're in the process at the moment of compiling a report about secondary ticketing, which may, the suggestion is, it may result in a recommendation to price cap how much you can make on reselling tickets. I think the, so it's, if you, so it's basically, I think the idea is the amount, if you can lower the amount of profits that people are making by reselling a ticket, If you cap it, then I think they hope that if there's less money in reselling tickets, if you can't inflate the prices by stupid amounts, that will put the touts off.

13:19But this will all depend on where the price cap is. Because if it's 30%, I don't think that's going to put touts off. If it's 10%, then you've got a chance of, I think, damaging their business enough that they'll go and do something else. That's it. That's always the way, isn't it? Make it easier to do something else. I mean, that's the thing. There's nothing wrong with reselling tickets. And actually, as a fan, if you can't go to something, there are now ways you can do that without, you know, Twickets is one we've talked about. I think Ticketmaster, Dice is a way of making a ticket. Like, there are now ways, if you can't go to a gig, to sell it without charging someone else loads of money.

13:54And this is about companies making a profit from this business. And I think a lot of us would look at that and go, actually, yeah, I don't mind if they go out of business. So, it's a good business to be in. I mean, the actual people buying and selling these tickets purely for profit. I really am relaxed about them not being cracked down. It's the irritation, isn't it? Your average music fan who tries to buy a ticket, having waited in a queue, doesn't get the ticket. But within seconds, there are 100 tickets for that gig at massively inflated prices on sites like this. um story two this week the latest band camp friday promotion generated three and a half million dollars of music and merch sales for independent artists i think this is something which began in lockdown but for anyone who doesn't know the score uh tell us briefly about uh i'm sure everyone knows what band camp is but tell us about band camp and their band camp fridays yeah i mean if even one person doesn't know what it is it's exciting to tell them about it because It's a wonderful thing.

14:58So yeah, Bandcamp has been historically a place where independent artists and labels can set up their stores, can't they? And they can sell music and merch directly to fans. And then during the pandemic, you're right, it was basically, they were like, okay, well, this Friday, we're going to waive our fee. So I think Bandcamp gets 15 % of your digital sales and 10 % of it, which is a decent, you know, it's not an absurd revenue share to take, but it waives those for one day so that artists can get more of the money. And that became a thing. and it became this big promotion and people look forward to it and artists started preparing releases specifically for it and it became an event and i think so far that they've done they're doing them every month i think at the height of the pandemic and then they've been not quite so often since then but they've done they've carried on doing them they've done more than 140 million dollars of sales so far on this day and all of that money has then gone to the artists and labels minus the kind of payment processing fees but yeah so the latest one was on first of august three and a half million dollars and what i think is important about that is that it's up from it was 3.2 million dollars for the last one in may and i think you could assume okay they started this in the pandemic it will dwindle over time because as we get further away from lockdowns we you know we don't but it's not it's growing and it's become this thing that isn't just about lockdowns and pandemics it's about here's a day we're going to come together and celebrate and get people to come and the thing i like about band camp is that they've built this community of people who want to pay artists money and that feels important at a time when there's a lot about how artists are struggling in all kinds of ways um so that's one thing but they did this announcement of this figure and then buried near the bottom was like oh by the way we've got a new thing coming and they sort of trailed this upcoming feature which i think is quite interesting which is which is what so it's called band camp clubs and they said it's basically a new way for fans to discover music connect more deeply with artists than each other and explore monthly selections curated by trusted tastemakers which i sort of read that and thought i wonder if it's like a subscription do you pay a monthly subscription you get some music curated for you but it could be something different but they're obviously planning something that like takes what they do to the next level and that is again quite exciting i mean i can't remember how long it was it was a couple of years ago now maybe but band camp used to be independent then they got bought by epic games which is a company that owns fortnite and that was always like what's that about why they bought band camp and then it sold them to another company called song trader and remember at the time there was a lot of worry about who are these people who've bought band camp what are their intentions are they going to kind of run it to the ground and ruin it or they're going to push it on and this company song should always said no we we want to protect band camp we want to and actually ever since there's been no evidence of it getting worse going terrible it seems like they are putting more well into it and developing stuff and as i say i think it's i mean i i can see lots of good things about streaming and you know i'm not a kind of anti-streaming person as people would know but i think bandcamp is a really important complementary thing to streaming for those artists and that three and a half million dollars is tip of the iceberg of what it's providing so yeah story three this week China's Spotify that's Tencent Music now has 124.4 million people paying for music why is that a big deal for the music industry I'm guessing because it was I mean China didn't sell a lot of records in China but there was a lot of music being bootlegs or just passed around it didn't it wasn't it you know wasn't it home home of piracy it was yeah so when I started writing about the industry.

18:34It was basically a kind of just a no-go area for selling music. And it was kind of like you had these big search engines, just basically we could go and search for MP3s and download them. The equivalent here would have been if Google had had a little box saying search for music and get it for free here. That was the level of it. You basically, no one paid for music because you could go and just search. And this is something that only a certain kind of government can really do. But the Chinese government stepped in at one point and said, no, we're not going to have that anymore, overnight made those services legal and said, you have to be licensed and legal.

19:07And overnight, it became legal because that's kind of what the Chinese system is like. You know, the government says and you jump. So Tencent Music is basically sort of China's Spotify, except it has three different music streaming services. It's got one called QQ Music and one called Kugo and one called Kuo. It's got like three Spotify's. and it's it also does live stream video and online karaoke which is big in china which isn't quite big here yet anyway yeah so it had its financial results it's also a public company it's got 553 million users of those services and like you say the key point is 124.4 million they're paying they're either paying for subscriptions or they're buying digital albums which is also a thing in china and that's growing by 26.4 percent year on year so like china is now the fifth biggest recorded music market in the world.

19:59And actually looking at the figures, it might overtake Germany to be the fourth biggest next year, this year. And it could even overtake the UK in the future if it keeps growing like this. It's really on a surge. But there was another point I wanted to tell you about. Because in their financial list, they've got this thing and it's called SVIP. And it's kind of their super fan, higher price subscription tier. So you can be a particularly keen user and you can pay extra. And it costs like five times the price of a subscription so the equivalent here would be paying 55 quid for spotify every month like and it has 15 million people doing that obviously the price is lower in china yeah but it has these 15 million people saying we're going to pay for the most expensive subscription you have crikey and that's interesting for us because i think there was in universal music groups recent financial earnings call they were talking about this and saying look at that this is proof there's demand if you have a high price subscription with cool stuff in it people will pay and we want to see that in the west and they're looking at spotify and apple amazon saying look it's working for tencent in china do it here does that does that necessarily follow though because music fans are different the world over and that you know in their habits and what what they want from pop music so i don't know if that if that necessarily if it necessarily works here no i don't think it's a guarantee uh and it's like there was some there's quite a lot fascinating differences.

21:23Like in China, for example, in streaming, they have a huge comment section. People who are on streaming section are commenting on songs. There's huge sort of chat discussions about them. We don't have that here. It hasn't really got out of course. But I think it's, at the very least, it's kind of a, well, hang on. In this market where historically we had trouble getting people to pay for music if a decent amount of them are now paying lots more for a subscription, why wouldn't it work in the West? You should try it. I think that's what's coming from the labels to the streaming. And we know Spotify is working on its idea of a higher price subscription.

21:54So this is kind of like a little nudge saying, look, it's working in this specific part of the world. So let's see if it can go fly in the West. Okay. Any other business? Actually, can I just mention following on from what we prepare to pay for streaming that we got a brilliant question from Simon Hemelrich. that's possibly not how you pronounce your name Simon I apologize get in touch and put us right but Simon he's one of our listeners sent us a question to answer which is about how much money musicians are making in the streaming era and is it is it as but is it actually as bad as people say and that Simon put forward an argument about a particular heritage act and said look if you compare what they would have made then and what they would make now surely they're making still making loads of money um i'm not telling you who the artist is because i'm keeping you in suspense because simon when we looked at it and started talking to some of our friends of the show who knew the answers to your question it just it started spiring out of all control because there's so many aspects to the question so uh we're going to dedicate virtually a whole show to your one question in about two weeks time once once we've finished properly researching it but thank you for asking it we will get there any questions for us or if you're after tips on how to deal with the music industry machine email address coming up later on this i know this was on your list uh which uh is stewart returning to a subject very close uh to his heart which uh some would claim is the big music success story of the year k-pop demon hunters uh have reached another huge milestone what is it now i've seen that they're putting the film in cinemas yeah i can't i can't tell my daughter that otherwise you know that's a she's gonna know she's gonna find out yeah k-pop demon hunters tell us i mean even some will claim i think we can get rid of now it is the big story of the year so like just to refresh anyone who hasn't been k-pop doing it's an animated film on netflix it launched in june and it's about basically like it's about it's a mythical tale of women who are demon hunters who do their demon hunting while also being a pop group and then the demons are blokes who are also in a pop group because you have to have a side hustle nowadays if you're a demon or a demon hunter yeah because these two these two k-pop groups who are also um indulging demon hunting business and it's been it's been huge and so is the soundtrack so last week Netflix actually put some numbers out and said the film has been watched more than 180 million times around the world and I guess there might be some parents listening who are going yeah 17 of those are my child or more and the soundtrack this came out with its own soundtrack because these two pop groups, fictional pop groups each have their songs and the soundtrack has got more than 3 billion streams so far globally since June and to your point about this is the biggest story of the year.

25:07So right now the biggest track from this soundtrack is called Golden. It's number one in the US in the Billboard chart. There are four songs in the top 20. Golden is number one in the UK this week and there are three songs in the top 10. Look at the Spotify chart globally. Three of Spotify's five biggest songs at the moment are from K-pop Demon Hunters and Golden's getting seven and a half million streams a day alone on Spotify. like this really has come from nowhere in many people's sort of year and it's suddenly dominating the charts it certainly struck a nerve with the kids yeah yeah and and now this you mentioned the cinema event it's not just a cinema screening it's a sing-along cinema screenings across the us across the canada there's so many uk and like do you remember i don't know i want to ask you this question for the for the joy of it have you ever been to one of those like sound of music sing-along cinema no no what do you i mean i know we've only known each other for about two years but i mean look at you know you know me you might have a sound of music fan you know but yeah like we've seen it with the sound of music and the rocky horror picture show but it's quite a recent phenomenon this is gonna be kids though as well you know i i we should do something on cinemas because i think we did we talk last week about it this idea of cinemas are doing more music stuff now like doing live concert and like one of the things i like about that is you are going to cinema to the music you love and everyone around you is from your area who also loves that music it's like a community building thing i think so it's quite yeah it's going to be exciting for a kid to meet all the other kids in your area who know k-pop do you love it but um but here's another i've got another stat for you on this okay there was a survey of kids in the u.s recently and they asked them what their favorite music genre is and 25 a quarter of u.s kids said k-pop is their favorite genre yeah so it's really something has flipped really fast and this is part of it bts and blackpink are part of it but yeah k-pop and the kids it's like a you know it's a big thing um can i can i very quickly mention um badly track listed albums uh we asked about this on the program last well this comes out of the hayley williams story which we covered a fortnight or so ago where hayley put out instead of releasing an album released 17 individual tracks so you could assemble your own version of the album but we then said what bands have clearly got their track listing wrong we've had a few uh ideas uh put forward um so far but keep them coming i mentioned this partly because this only recently came in and i want i want to look at this in more detail before we discuss it but thank you ben cardew uh who suggested two albums uh the first being discovery by Daft Punk, which is an album I've written a whole book about, says Ben.

27:50But track listing doesn't work. And then more controversially, possibly, although producer Joe says, yeah, I'm with this, the record in Ben's mind, badly track listed, The Queen is Dead by The Smiths. We'll talk more about that in a week or so. But thank you very much, Ben. And as I say, we are still open for more suggestions of badly track-listed albums. And here's something else from last week, because I lightly took the mickey out of you last week for getting up in the middle of the night to try and find out more details of the new Taylor Swift album. Quite heavily took the mickey out of you, quite heavily.

28:31I mean, and then you were saying the whole thing was about the Taylor Swift camp, basically drip-feeding information about the record. and this is how you announce albums these days over the course of a week by giving a bit of information here a bit of information there but she was going on a podcast which i imagine you listen to as well did you i watched it it was on youtube oh of course podcast nowadays it's already yeah she went well she went on new heights which is actually our partner travis kelsey and his brother that is there i think it's normally an american football podcast but one one thing they went into kind of tell but yeah she appeared on that and it's two hours well i've right if i'm two hours of a podcast i'd rather watch taylor swift than joe roger so you know i wasn't too bad okay um but yeah so a lot of it was it was about like it's personal stuff like how how she and her partner met and talking about life as a pop star but there were a couple of music industry bits that i thought were interesting um so first you know do you remember she bought she bought back her recordings catalog earlier this year yes yeah well this little nugget come out she said yeah she didn't send her lawyers in to negotiate that deal.

29:38She sent her mum and brother in. Why? Yeah, which, now there's a caveat here. Like her brother handles her film projects and her mum is a key part of her management company. So it's not like sending anyone's mum and brother in. They know their onions. I was going to say, I'm hardly likely to get my old man to go in and negotiate my next six music contracts. Maybe that's it. It's like those footballers who have their dads or mums as their agents, isn't it? Maybe that works. But then she said it basically was to convey the emotion involved. She wanted them to realize that this was really personal for her.

30:07It wasn't just, you know, but then also she talked about how, so this is something she's alluded to before, like her long fight about owning her recordings has inspired younger artists. And she's talked about this thing about young artists come up to her and say, one, they say, I didn't even know this was a thing. I didn't know you could own your recordings. Yeah. And they're apparently there. And obviously, you know, this is her say they're telling her that they've, they've negotiated when they have a label deal to have their recordings revert back to them after a certain number of years or to own them outright.

30:33right so i think we've talked about this before and said well it's difficult when you're an artist you know can you go into a label and say i want to earn my recordings it was but but according to taylor swift people have seen what she's done and they've gone in and done exactly that yeah um that's it it is interesting isn't it more and more people are talking about reversion as well which is when you you sign your rights away but only for a you know a term of i don't know a decade or something which is which is strangely what we did um at Deceptive Records with uh some of the some of the deals we did we said well we'll own them for 10 years and then you can have them back um I think we pretty much I think we did that with Elastica actually it's kind of interesting because like in the industry right now there's a lot of talk about how how lucrative catalog is for labels yeah and so strangely there's there's something um there's something about that which I'm going to raise in the lock-in for Patreon listeners in a bit.

31:28But yes, catalogue, sorry. Yeah, so at the time when catalogue is becoming even more important to labels, we're also having this discussion about, well, artists want to have their catalogue back, and that's a point of tension. But the other thing I want to highlight is, if anyone wants to go and see this New Heights podcast, there's a whole section which is called Music Ownership Explained to Football Players. And where is it? It's where the two guys are like, they're like, explain music ownership to us. and Taylor Swift does it and if you're actually brand new to how music ownership works that's quite a good place to start because she's explaining it in terms that football players would understand and they're kind of asking questions so it's a good primer We're nearly out of time and finally this week what does a crunchy soft boiled quail's egg have to do with British rock band Alt-J?

32:19Well you know how riders get out of control So crunchy, soft-boiled egg is what I want to take you to. How do you have a crunchy, soft-boiled egg? And that would be good. Yeah, I don't know. Shells in it? Yeah. But this is, I don't know. Isn't Gus from Alt-J? Isn't he the one who is quite a foodie? He is. And that's what this is about. So this is happening in East London because, of course, it is. If anyone knows East London, this is one. but he's curating a five course meal based on tracks from the band's albums and it's at this place called the collab which is a restaurant that's been doing these partnerships with musicians and food and so it is so yeah you you go along you can have your five course meal everything is explained to you and his explanations of how this relates to the album and the inspirations behind it and so yeah classic solarec rhumoulade persimmon granita with cured macron shiso smoked buffalo shoulder and buffalo blue cheese croquette and just for us who are looking at this going a welsh cheese plate and classic tiramisu to finish um but it's it's like it's it's such a limited thing obviously you have to be able to go to east london and take part in this meal but this is happening more and more like artists who have a foodie interest are figuring out stuff they can do with that and events and there's a little crossover between music and food around events and you know it's a it's quite it's quite fun it's there i don't i can't i can't see it catching up Mind you, this again begs a question.

33:47Albums and metaphorically what food they would be. Let's leave it there. We're out of time. Thank you very much for listening. If you are enjoying what we're trying to do, please do spread the word. Tell your friends or leave us a review online if you get a chance. I mean, I know everyone gets asked twice a day to leave reviews for something or other online, but if you do have a couple of minutes, it would be much appreciated. Alternatively, you can support us via Patreon, in facts if you sign up to be a super fan as mentioned you get an extra 15 minutes or so of us pontificating over various music related matters in the lock-in which is coming up next for subscribers if you'd like to join us you can become a super fan at patreon.com slash the price of music thank you very much to Gerard Gibbons who's just come on board if you'd like to, as I say, if you'd like to join Gerrard and the rest of the gang, patreon.com slash thepriceofmusic.

34:43You can also get in touch with us via our socials or drop us a line at this email address if you have any questions or any feedback for us, thepriceofmusicpodcast at gmail.com. Until next time, we may be taking a week off next week, by the way, for our summer holiday. We're not all going away together, but we might be off next week. so we'll see you in a fortnight for now take care of yourselves bye