187. The Art of Event Marketing & Nightlife Strategy

How do you create a thriving venue in a competitive market? In this episode of The Marketing Madmen, Nick Constantino sits down with Kelly Campbell and Michaela Palevic of Westside Motor Lounge to discuss event marketing, sponsorship strategies, and how to evolve nightlife experiences for modern audiences. They dive into collaborative promotions, engaging activations, and the future of live music and social culture in Atlanta.

#MarketingMadmen #WestsideMotorLounge #EventMarketing #NightlifeStrategy #AtlantaNightlife #LiveMusic #BrandPartnerships #Sponsorships #VinylCulture

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Episode Transcript

(00:00):
Want to create a thriving venue,pack out events and lock in
sponsorship that actually work? Atlanta's nightlife is changing.
What worked last year won't cut it anymore.
In this episode, Westside Motor Lounges, Kelly Campbell and
Michaela Palavik reveal how smart marketing strategies
transform venues into must visithotspots.
Let's dive into the future of nightlife and event marketing on

(00:20):
this episode of The Marketing Mad Men.
They say marketing is a madman'sgame.
So now we turned it over to the marketing Mad Men with Nick
Constantino and Trip Show. Welcome to the marketing Mad
Men. Nick Constantino here.
We're in spring when we're filming.
The weather is wonderful, which means it's going to be like hot
and oppressive in two weeks. In a typical Atlanta fashion, I

(00:43):
have with me Kelly Campbell and Michaela Palavik of Westside
Motor Lounge. There's lots to talk about here,
so we're going to hit it hard. Being that it's gorgeous out,
let's set the stage of what a Thursday afternoon, which will
be tomorrow at Westside, will look like on a perfect spring
day. 82°, sunny, everyone tryingto get out of the office set the
stage for me. What does it look like?

(01:04):
Yeah, So, you know, we sit on about two acres over an English
Ave. Large courtyard, courtyard
stage, large garage doors, indoor outdoor space, 333
buildings surrounding the courtyard.
So, you know, lots to do. There will be, you know, music

(01:25):
throughout, drinks flowing. Local, different genres, I'm
assuming. Kind of an eclectic.
All of that. Represent the area.
You have a we have a we have a vinyl lounge there.
We have DJs that play Thursday, Friday and Saturday night from
our a space called Echo Room. All vinyl, Yeah.
So that gets lost. So let me let me go on my first

(01:46):
tangent of the whole thing. OK, so I used to DJ on vinyl.
So I grew up in as a 90s kid, I grew up in New York City.
I used to go to Fat Beats, whichis where all the hip hop records
are bought. You had to take an instrumental
version and a vocal version beatmatch.
Those have those go of each other.
Anyone whoever tried it understands that was a musical
instrument. The way to the metronome that
you have to have the beat matching, the counting, the way

(02:07):
you're using those tools was such a musical instrument and it
was lost the day Serrato came out and they were auto matching
the beats immediately. It destroyed the entire concept
of DJing and I've been to plentyof festivals and it's not a
knock. It's really hard to entertain
60,200 thousand people, don't get me wrong.
But if you think for one second that entire setlist isn't
preloaded onto that track with that guy going like this on the
bass and then doing this in the background, you're you're a

(02:28):
fool. It's auto done from beginning to
end. So I appreciate the fact that
it's vinyl. I also think I really like about
vinyl is you're forced to get more eclectic with your music
because you start going down into the rabbit hole of like the
70s and the disco era and the R&B era and you pull these
things out and it just feels like the DJs who took the time
to DJ on vinyl have a more eclectic taste and they know how
to utilize the instrument better.

(02:50):
So that's my soapbox. I'm sticking to it.
So I have not been to Echo Room.So I got to come.
I'm not going to ask you if I can DJ yet.
I'm rusty. I'm rusty, but all right.
So that being said, let's now let's take a step back because I
think I want to establish it first.
So Michaela, we're going to start with you.
You know, this is a huge establishment.
Acres is something people don't talk about a lot with

(03:10):
restaurants and entertainment spaces.
So let's take a couple steps back, talk about how you got
into the industry, how what yourbackground is in marketing and
what brought you up to this place.
Sure. So I graduated and when no one
could get a job in O 8 and I've found an internship with
Concentrix, thank goodness and. We've had Todd on the show.
He was a guest who actually filmed.

(03:31):
It was the first one I ever filmed on location.
We filmed that 2 urban licks right around.
Was there 20th anniversary or 25th?
20th anniversary? Yeah.
So we got the whole background. We ate like kings.
And actually it was ironic. They were celebrating 20 years.
I was celebrating 10 years in Atlanta and the first restaurant
I ever ate. I was 2.
Urban. Licks.
So it was. Like the Serpentipitis meeting
it was, It was great. It was super fun to record.

(03:51):
Anyway, Carol? There's your reminder to go
back. Yeah.
For sure. So I got an internship with them
in the marketing and PR department and they hired me on,
thank goodness. And I stayed there.
And that was when social media kind of blossomed first, you
know, personally for us. And then they started on the
whole business, business route and restaurants could make pages

(04:14):
and everybody wanted to do it. And it turned into really a
whole nother job position for sure.
And So what we ended up doing was hiring someone who I managed
and then from there got married,wanted to have kids, family
life. So I left Concentrix and started
my own social media management company called Hello Media

(04:35):
Company. Cool.
And yeah, Kelly and I got connected because I helped him
with the Atlanta Food and Wine Festival.
They were a client for a while and then now we're back
connected through Westside MotorLounge in Southern.
Love it. We're going to talk about food
festivals because that's an interesting thing that has
changed quickly. Let's unpack a couple of things,
though. First out, shout out to Karen W

(04:57):
PR. Yeah, those are my resident PR
people. They set this up and it is it is
a constant point of conversationbecause I think it's one of the
most misunderstood things in allof marketing and business is
like people just don't think about it.
And what ends up happening is what the advertisers want from
PR companies is free advertisement.
And the good companies that you want to be advertising on will

(05:19):
never give that. So you just get the crappy
remnant inventory that people just have leftover.
So it's a broken system from beginning to end, right?
Like PR is you have to have, youhave to find idiots like me who
host a podcast among everything else I'm doing.
You've got to find ways to slip in for mutual and it is just not
an easy job. So but you probably helped cut
your teeth and then how it probably helped with the social
media portion of it because really, if you do it the right

(05:40):
way, social media is an extension of PR.
And I like to say nowadays there's two parts of this,
internal communications and external communications.
They're more blurred than ever. Your internal employees want to
know what you're doing externally.
In fact, we just changed over a lot of our marketing from month
to month, which is horrendous. I'm also the Webmaster somehow
of a company and everyone started asking me, I need that

(06:00):
graphic. I need that graphic.
And it's like, yo, I sent you all the graphics two weeks ago.
That's a broken internal communication thing.
But that's part of PR because what you don't want them doing
is going rogue and making their own graphics because that's
where it goes really goes downhill quickly.
So, so that's great. So talk a little bit about some
of the successes. You're right, 2008 was right
when I think Zuckerberg's eyes started getting really big and

(06:21):
realizing how much money was involved in this and started
thinking how he was going to pivot away from a tool for
people to use and have fun to a running long advertisement.
And just a short note, when my kids were born, I got off social
media. And it's not because I have any
shame because trust me, I have none.
But like, I didn't need my kids inundated with their future
seeing all these pictures of them.
So I was off for like 3 or 4 years.

(06:42):
I got back on and I was like, what the hell happened?
Like, this used to be the way for me to go and see if the hot
girls in high school got fat or not.
And now all of a sudden it's forced.
It's 43,000 eggs. Yeah.
What happened? What happened?
And only 60% of them got fat. So good for science in high
school. So all right, let's go.
But let's go over to you, Kelly.So you talk a little bit about,

(07:02):
again, catch us up to speed in talking.
Previously, we've done a couple of similar things in the
sponsorship realm, so we'll kindof dig in that a little bit.
But catch us up to speed, brother.
Yeah, so you know, I, I moved toAtlanta in 97, just post
Olympics. Where'd you grow up?
Florida. Florida.
OK, Florida Gator. Gator OK, I I was not happy.
I went to Maryland and you guys beat us pretty bad in the Sweet

(07:23):
16. So, Michaela, how about you?
Where are you from? Texas.
Texas. OK, so we got a bunch of nice
Southern folk with the Yankee. Perfect.
Keep going. Yeah, but moved, moved to
Atlanta 97 and got involved in the sponsorship world really
sponsorship activation, so. So activating all sponsorships
really focused on sports and entertainment, so.
Young part of sponsorship, it's evolved so much in the past

(07:43):
30-40 years, but that was the young phase.
That was where people had, you know, you had your naming
rights, you had a couple of sponsorships, but the
activations, the ONS field experiences, you didn't have
dedicated staff members. You were kind of winging this
and just using whatever assets were there.
Also very good budgets at that point, doing a lot of work with
Coke, yeah. And then then spent stints in
NASCAR and and supporting Live Nation and then went to Coke for

(08:09):
a couple years to manage the agencies on their roster that
are activating sponsorships for Coca-Cola.
So you went to the other side. So you did some similar pivot to
me that you started in on the actual when you were doing the
sponsorship, then you flip to the other side to manage the
people running the sponsorship. And you know, it's a great point
because one of the things, so now I went from being the guy

(08:29):
who wrote the sponsorship deal. So for example, 6A the fan, the
Atlanta Braves, we have a Co deal with Salomon Brothers where
I'm the CMO of now that was partradio, part sponsorship, but a
lot to execute. So I helped write that contract.
Then when I flipped over to the Salomon Brothers side to execute
that contract, I had already seen flaws in the contract in
which I had set up because you have to see it from both sides.

(08:50):
So now when I just signed my UGAcontract, completely different
set of eyes and I caught things that I intentionally or
unintentionally put to be ambiguous to make the
sponsorship work in my favor. So now I knew how to catch those
things. So it must have been something
similar. Actually all three sides,
because then leaving Coke, I went to the property side, went
to Atlanta Food and Wine Festival.

(09:10):
So I was agency, corporate and then property side.
All right, so being that that's the case, we're going to spend
the last three minutes of this segment talking about how bad
people are at sponsorship and what they F up every time
because I have some thoughts here.
So I think because you saw it from three sides, I'm going to
kind of ask you some questions. And this is completely improv.
If anyone knows, like this is not what my paper says, I

(09:31):
promise. So so First off, what do you
think is the number one thing that most people get wrong when
they either start a process of negotiating A sponsorship or
sign a contract for a sponsorship of any kind?
I'll give you a brain tea. I'll throw it out to get the
juices going. So I think that they when they
do the sponsorship, they don't realize that it takes additional
resources to activate that sponsorship.
So, for example, when when SunTrust Bank, not true,

(09:52):
SunTrust Bank put a sign on on this building, all they had was
a billboard of something that noone even know what SunTrust was
if they were coming from out of town because the activation.
So the phase one to now where they realize that $10 million
investment requires almost the same size investment to get that
word out there. I think that is first and
foremost the biggest failure is that all your you can't rely on

(10:13):
the same company because all you're doing is fishing in the
same place, right, right. If you only doing Braves fans,
they're not people who are just a casual Brave fan.
Be like, oh, that's cool, you'rea sponsor.
So I think that's always number one is they forget the
activation part. They only budget for the
sponsorship and then they're stuck there with a gigantic
billboard or an asset that requires additional
amplification. So that's one I would say.
Yep. And I'd say the extension to
that is, is also knowing what success looks like in that

(10:35):
activation. You know, it's just collection
of data or get, you know, how you're interacting with people
like you, you know. Yeah, and I would say that
that's a 2 that's two both sidesfault.
So what I've come to realize is,is that so KP is seem to me they
always come up after the fact and it's like, OK, well First
off you don't tell me what a KP is.
I tell you what, A So when you establish them from the

(10:56):
beginning and make it clear whatsuccess looks like, it's easier
to get there. But the people doing the
sponsorship are not educated in the industry enough to do it.
And the people selling the sponsorship just want that big
check or they have hard numbers to head.
So nobody has that conversation.And then unfortunately, they
start having that conversation. When stuff goes bad, our
communication lines start breaking down, which has just
been a huge issue in every fieldor every industry.

(11:17):
What about on site? You were doing a lot of on site
activations. What were some things you saw
that were just like, that's wrong, that's wrong, that's
wrong. Like again, you know, Live
Nation gave me a good eyes to the younger generation.
They were not the same as the older generation where they
expected the marketing, they needed to be subliminal.
Like you need to have a Motorolatower at a festival that was
integrated and gave pretty stuffaway as opposed to the old

(11:38):
school. Like no, I've listened to radio.
I understand the relationship. That's why I'm getting this for
free so they're more likely to engage.
What other kind of issues did you see as you were doing this?
Well, you know, the really goes back to what I was saying before
that just integrating and activating authentically inside
of a property or an event is, you know, everybody's in vendor

(12:01):
village, everybody's doing whatever, it's all the same
thing and give them free T-shirts away, whatever just
blends into it, right. So I think trying to be trying
to stand out and be unique, but that happens in the negotiation
process. They're trying to negotiate a
more customized experience and alot of times properties or
events were templated or a little stringent when it came to
that. So you know.

(12:21):
Getting Live Nation was the kingof that templates.
All right, we'll be back after aquick break.
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Now back to the Marketing Mad Men on Extra 106.3 FM Welcome

(14:07):
back to the marketing Mad Men. Nick Constantino here with Kelly
and Michaela of Westside Motor Lounge.
And, and we're going to get to some of the other venues you
guys have because I think it's important.
But but we spent the spent the first segment talking about what
you guys have done previously, mistakes being made from what
they expect out of PR to how social media has become one
running ad to how sponsorships gone wrong.

(14:27):
So let's skip some stuff, get a little Fast forward and talk
about how you're applying those principles with Westside Motor
Lounge, right? So obviously this is Atlanta.
Everybody wants to be here. Obviously the location, while
you're a little bit off of the main strip where they're hyper
concentrated, you're in a busy, busy area, right?
So it's a competitive space. So to thrive and to succeed, you

(14:48):
either have to be the best chef and the best executors in the
world or be approaching things differently and be unique and
blend in that community. So Mikhail, let's start with
you. Talk a little bit about what you
learned in your social media gigs and PR gigs and how you're
approaching it differently with how you go about promoting and
driving traffic to West Side. Yeah, sure.
First of all, go follow West Side Motor Lounge on Instagram.

(15:09):
That's a good starting point. And what was the question?
Literally, what have you do? What are you doing differently?
So you have all this experience,right?
You ran APR agency, you ran a social media agency.
You've all this experience. If you had just apply the same
things you've learned with otherpeople to this place, it never
would have worked, right? So what are you doing

(15:30):
differently here? What are the traffic drivers?
How are you getting people on social media to engage?
Because there's so much more to it nowadays.
So what did you learn previous life that you're applying now?
Right. I think our social media
strategy relies a lot on collaboration either with brands
or our partners that we work with.
We have several events that, youknow, reoccur, whether it's

(15:51):
monthly or weekly and working with the promoter or the event
organizer to really make sure that our strategy is
collaborative. Given give us an idea because
honestly, I've done a lot of these shows, I've talked a lot
of people. Everyone tries to say the same
things like we're we're collaborative, we're partnering,
but talk about like how a promoter, how how much value a
promoter is to an event and thenhow you use social media to

(16:13):
amplify because they have their own following.
So talk a little bit more specifically, like a Friday
night. We're doing an event around
Cinco de Mayo, whatever it is. How do you use?
These so I'll say real quickly so we we're on year 3 and so
we've we've evolved our event strategy to the point I mean
everybody knows about all the restaurant Closings in West
Midtown and what's going on and so.

(16:33):
Yeah, everyone claims parking bythe way, right?
Which is not, it's not completely not true.
But like, if you even look for 5minutes, it's not that hard to
find a parking spot. Like I come from New York City.
You want to see circling Manhattan for four hours to find
a parking spot or spending $600.00, like walking an extra 6
feet or paying $6 is not a freaking parking problem.
Sorry. But we've going into year three,
we really apply to exclusive event strategy to Westside

(16:58):
Maryland Lounge. And we did not want to have
different events every weekend. So we really sought out
promoters and, and partners and,and, and people that we had met
and really were just like mindedand music was at the center of
what they were doing. And so we have a series of
events that we do there on the regular.
One's called skip day, we do that monthly, one's called

(17:19):
Sunday fun day. We do that every Sunday.
One's called Mother May Eye, which is more of a family
focused or young family focused event.
We have a monthly 45 only event called kicking up to US1 called
come together. So, so we, we've, we've, we've
done this thing where we're repeating and, and really
tapping into those networks and,and who they're reaching.
And so I think that's the partnership thing and really

(17:41):
building that relationship through the partnership with the
promoter. But you know, with with West
Side, but I mean, all the, all the growth we've seen, the
significant growth we've seen infollowers and engagement have
really come through those audiences who are experiencing
it for the first time. And like, oh, we love this
space. And then we're.
Saying it goes both ways becauseyou're also amplifying for that
person also absolutely mutual benefit in partnership.
And I think that's one of the, look, I think negotiation has

(18:05):
gotten to a point and it it happens in all the time in
economic cycles, but you can kind of smell the people who are
out for their own intentions. And I think people have gotten
smarter nowadays because budgetshave gotten tighter.
So people are looking for a realmutual benefit.
And I think for me, one of the advantages is, is like, look, we
could be best friends after we fulfill the contractual
obligations, right? Well, you know and I will tell
you this one, we the language weuse is business partner.

(18:28):
I mean, we really call all of our, you know, we call our, our
partners business partners because we are, you know, it is
a business like engagement. They're just as, they're just as
excited about Westside Motor Lounge and the space and the
possibilities that we are. And it really, yeah, it really
makes. You build a unique thing, which
is half the battle, right? And you're bringing the people
and it's constantly evolving, which sometimes doesn't happen.

(18:49):
But I'm saying like if you, if you have a partner and you're
like, all right, so here's the obligation.
You're bringing this, you're going to do 3 posts.
We're going to do 3 posts. You could do 40, but
contractually to make sure we'reon the same page and build
rapport and trust, we're going to do 3 or like that's what I'm
talking about. And that's what's missing is
everyone's like, just trust me, shake hands like we'll do, we'll
do whatever you want. No, no, no, you can't do that.
So let's put on contract. But you can get those done.
And if you want to, if we want to go above and beyond that,

(19:10):
several relationships work like that.
First contract is the only one Icare about, but I think the
strategy is smart for two reasons.
Number one, from what I've learned, when you invest a lot
in one off and it fails, you're screwed.
When you invest a lot with the vision of the future, it takes
so much time for things to really kick your who you think
your target audience at can completely change.
So implementing series allows the flexibility to something to

(19:32):
really get into its groove, which is really important part
in the mood pun, but getting in your groove, that's hugely
important. The other part is it makes
sponsorship and partnership easier because you're talking
Mother's Day out, right? But for me, that's that Sunday
fun day. Mom's got some wine in her
glass. You know, it may not be we're
taking shots. So you allow the natural cause
to happen. So people are going to apply
sponsorship that makes more sense for them, right?

(19:54):
Like just off the top of my head, I know it's ridiculous,
but like sunscreen would be a great sponsor for an outdoor
family event day. And you're not going to do that
if you're doing a once off on a Sunday.
So I think it's a very smart strategy, but I think it needs a
lot of foresight, which unfortunately the restaurant
industry has gotten so cutthroatthat everyone's worried about
the right now and chasing margins right now that it makes
it really, really hard. I'd say we're not we're more say

(20:20):
this on the marketing broadcast.We're not whatever data, we're
not, we're not. I would not say we're
data-driven or analytics driven.Really.
We, you know, it is, it is partnerships and gut feelings
and, but, but from a sponsorshipperspective and doing these
regular events, we, we do have alot of data to be able to, to
share with potential sponsors onwhere it started, where it's

(20:42):
come and where it's. Going do we do?
Are you using a ticketing system?
Yes. Is that how you're getting the
data? Yeah, yeah, we use, we use
shotgun as a ticketing and then and of course all of our
restaurant POS stuff is pretty, pretty good at analyzing.
Oh. Man, that's so switching over
the other side that Amex data. Holy crap.
I'm and I've always been scared,right, because I've seen we run,
I run. I was running the entire audio

(21:03):
network of the Braves. So I was seeing millions of
people and like, data you can pull on them is insane.
But when you start really distilling it, it's like, OK,
you know, saying a cohort of sixpeople do this is very different
than, you know, my house, where I live, how much I spend on
taxes. It's it's really creepy.
And like, I get it, but it's really creepy.
But I think I apply a similar principle, right?
I think I think based on what the economic state is, you have

(21:26):
to allocate a certain amount of percentage to data and some to
the creative thought. Like, you know, it changes when
things get tighter. You got a little bit more
data-driven, but when not, this is what I tell people all the
time. A data point has never elicited
an emotional response to anything.
The feeling you get from watching a band you know that
you like and like, let's be clear, right?
Like you might not like that band if you were sober.

(21:46):
You might not like that band on in a quiet acoustic set versus a
Saturday night, right? When you found some chick and
you're going to get lucky or some dude is going to get lucky,
right? So the nature of it, and we're
not there yet where data points are going to explain that stuff.
Not that I've seen, at least I hope we're not, because then
we're in Minority Report. Any of the dystopian future.
Don't get me wrong, it's coming and I think we'll probably have
a conversation about AI, but really, so, so we have, so we

(22:10):
have, we've set the stage a little bit.
So talk about more holistically about running the business part
of this, right? Because again, tight margins,
right? Food costs are up.
Talk about running the business.I looked at the menu.
The prices are completely attainable.
You're going for scale, obviously, that's clear to see.
But those price points are important, right?
Because the last thing you want to do is go out on a Sunday
afternoon to get a $300.00 bill to sit and have beers on a
patio, right? Right.

(22:31):
So talk a little bit about the thought process behind some of
that more business stuff, how you apply margins, how you're
handling costs. Talk about how you do staffing.
Talk about some of that more, you know, boring business stuff.
And that's, that's obviously where the the data comes in, you
know, big time. But we yeah, I mean, you know,
part of that strategy of also trying to find partnerships

(22:53):
where we we're scheduled out nowthrough October, right on
weekends. And so it's easy for us to plan
the business now around events that we know what they're going
to deliver and how to manage labor and how to manage cost of
goods and all of that, right. So we're, you know, we, we play
a pretty big role in operations.I mean, we have operations

(23:13):
folks, but we're still we're still playing and.
That's why I asked you, because I've seen the marketing side
now. And if you're not marketing with
the salespeople, whoever you're for, you guys are probably your
bartenders or the servers and the operations in mind, you're
screwed, right? Right.
Because you can't market to you have to understand economies of
scale and margins and you know, where do you make the most
money? That's incredibly important to
know because that's where you should put marketing.
Resources well and well, actually what we're, you know,

(23:36):
now is, is we know that Thursday, Friday, Saturday, you
know, biggest days where we, we really pushed hard to book
events and make sure we have stuff on the calendar as far out
as we can, Which then allows us to now pivot a little bit and
shift to the Wednesday nights that aren't as good or the, the
Sundays and, and, and, or well, now we have a Sunday.

(23:56):
Funny. But anyways, we're, we're, we're
able to now look at, we're trying to get some programming
in on Wednesdays and, and reallytry to see if we can move the
needle on that day because we'vegot a pretty solid plan in place
for the, the high volume days. Yeah.
All right. So we're going to do a pivot
now. We're going to completely change
the show now, OK. So we're going to two different
things. We're going to spend the last
segment talking about music justas a whole from our favorite

(24:17):
artists and things that we see what's been missing.
But right now we are going to talk about kids these days.
And I'm making my own segment now and let's talk about kids
these days because my understanding is I thought what
I had thought. So I work with a lot of people
in the liquor industry and consumption is down across the
board. OK, So I thought it's because
now weed is legal and they're just getting high and having a

(24:37):
blast that way. But my understanding is, is that
they're just staying home and like they're like Co nesting
and, and Netflixing and like they're not going out and like
these 19 year olds are acting like they're 42 years old.
So as you get the best sociological experiment there
is, and as you've seen this now over three years since COVID,
all that stuff, What is wrong with kids these days?

(24:57):
Think about it for a second, because I know it's coming out
of left field, but what is wrongwith kids these days?
I mean, look, I just, I rememberand I was, I would go, I was
like, go out kid all the time. I would remember that the only
rule of going out is pre drink before.
So when you get there, it's cheaper and you have a blast.
Like that was just my rule of everything I did in life, right?
I lived in cities that are walkable.
You could do it. I'm not saying drink and drive.

(25:18):
I'm saying move to a place whereyou can just hop around and do
it. And I know Atlanta is really
hard, but there's Ubers everywhere.
It's really easy to get dropped off.
But it just seems like you either have like the Bros that
are there that are more concerned with showing people
how hard they're partying than partying hard.
Or you have the people that are like, I'm going to have a drink
and I'm going to go home. So I'll ask again, Michael, I'm

(25:39):
going to start with you. What's wrong with kids these
days? What are you seeing?
I mean, consumption, how many drinks per?
Are those things trending downward?
Are you getting the party kids because of how you're set up as
a location? Like, what are you?
What are you seeing? I would definitely say we get
the party kids and the party party adults.
Yeah. And I mean.
I mean, kids, anyone that's going out in the middle of the
day and drinking, I'm going to call them a kid.

(26:00):
Yeah, right. I'm a gay adult.
But at 4:00 PM, if I'm sitting at 4:00 PM on Sunday with a
drink in my hand, I'm a kid for that.
Even with my kids. Yeah, even with my kids I am.
Yeah, I mean our our crowd definitely I think parties more
than than others. So I mean we get good people
watching people are having fun enjoying each other.
I would, I wouldn't. I mean, I guess people aren't

(26:24):
getting like crazy crazy, but they're definitely enjoying
themselves and. That's good to that's good to
hear. But, you know, go to other
places and it's not like that so.
What's your breakdown is, are people drinking beers?
What are they drinking? Tequila.
Tequila, Yeah. I know.
Well, well, that's because that's that health conscious
thing. And like there's enough
articles, the PR for PR for tequila and so well that it's
like it's the healthiest of the drinks.

(26:44):
I'm like, yeah, that's true. But that's like saying that
herpes is the best STD. Like, come on, it's not.
It's not exactly. That's an exact science to say
that. Like so so and tequila.
And honestly, I'm such a tequilaguy.
If I'm day drinking tequila and soda, is it for me for vodka?
But I'm just saying neutral spirit have a bunch of them.
The water. I can tell myself I'm hydrating.
So All right, So what do you think?

(27:05):
What do you think, Kelly? So what?
Not based on your child but waste of what you've seen?
You've been in the industry for a long time.
How? How are these people?
How are people acting differently?
How has behavior changed? Yeah, I mean, you know, for and
I would just not to dodge this question, but I mean for us and
then going back to this event strategy especially, I mean
specifically to Westside Motor Lounge, you know, having those

(27:27):
themed events or you know, we wesee people coming out to them,
right? We're seeing the traffic, you
know, we but we also we are, we tend to trend older.
We, I mean, I'd say we're 30. You're, you're.
Trend older, but you're also urban dwellers.
You're turning in a city that live in a city for a reason.
Like we're not doing this in thelike the suburbs of Topeka.

(27:49):
No, we're we're we're targeting this for a real and the people
that have the highest propensityto be out and want to live in
walkable spaces. And for what it's worth was
midtown. I mean, it wasn't for a long
time, but it is converted into one or more worse walkable
spaces. Like my, my dream Saturday night
is not going for a $300 dinner. It's having a drink and an
appetizer at 8 different places.And what the hell happens with
the night is like it blurs by asopposed to being stuck with one

(28:12):
crappy waiter and just one pretentious douchebag.
Like you actually get to just stop being.
You have to hop around and kind of get the best of everything
you can do that there. There's not a lot of places in
Atlanta where you can do that. But it sounds like when you
know, look again, data is not going to tell you who the party
people are that you got to have an instinct for it.
And again, even going to having the the vinyl room, right.

(28:32):
You have to have an affinity towards music and nuance to
understand the vinyl. So.
It sounds like your marketing strategy is actually not bent to
cave around what's happening externally, but pulling the
people that you wanted to, whichis not.
It's not common these days. I'm not kidding.
Everyone says they want to do it, but it also sounds like you
just said you evolved. That's taken three years to
figure out. Most restaurants don't last six
months. Well, that's exactly.

(28:53):
So that that sounds like it so that that that makes a ton more
sense. And I was I was only asking
because again, I always hear things third party like the
restaurant industry, people are crying.
You know, you read all these articles about what's Midtown,
the parking. We can't keep a business
running. Our our location is one off, you
know, we're behind Hollow Mills.So we really have to figure out
how to get people to come, yes, and then come back.

(29:14):
That's the thing, right, If you have a good event strategy that
is growing, you have to get themto come once yes, because
usually they come back because they enjoyed the thematics of
the night. And if you if you did them every
six months, you're probably not going to get people back.
They'll forget right, especiallybecause of the party kids and
they're drinking too much. So they'll forget.
But you get you get you get the people.
So you have now when they think in their head about what should

(29:34):
I do? That theme pops up it maybe even
before the restaurant. So I think that's a very smart
strategy. So talk about some of the bands
you have some of the music. Obviously vinyl is across the
board, right? Vinyl started the hip hop
movement with DJ breaks and theywere mixing in all the breaks
from the old 70s disco music to make hip hop.
But vinyl has been a part of this.
Talk about some of the music andwhen you do these themes, what

(29:55):
kind of bands you looking for? Yeah.
So, well on the on the DJ side, on Echo Room, we had actually,
we had a covered outdoor space, basically had four DJs and we've
known that have been around forever.
DJ Kemet Salah, Mike Zarin and Kai came to us about the idea of
the Echo Room. And so we, we, we decided to do
it. They booked the DJs, They have a

(30:16):
expansive network. The music's great.
But they're playing the music because.
They're, they're, they're so on Thursday nights we have the the
partners play got it. And then Friday, Saturday, we
have guest DJs and they and theybook all of them, right?
So the reason I ask is I was in Philadelphia and hopefully you
guys don't run at this place, otherwise it's going to be a
very awkward conversation. But he literally went into this
place. He bought vinyl.
He didn't have a record player. He bought it to store it there

(30:39):
to get to play it there. As you realize how stupid what
you just did is you spend $40 tobuy a record that you can't even
play in your own house to leave at a bar for them to play.
I swear to God, it's they're called they're called like vinyl
parlors and like, And so becausenow all of a sudden your $40
gets you you and now you get to curate the music.
I was like, I was like, so does Spotify jam and you can just hit

(31:00):
the button Bluetooth the thing over like what, what, what if
ever this is the kid. I mean, I love him to death, but
this is the kid that would have done.
And Speaking of someone who drank himself stupid, he's 5
foot 2 and Filipino and tried todrink with me and hang with me.
So it's not been good. And Falcon, we're talking about
you and yes, I'm going to send this to you.
So they're, so they're DJing on vinyl.
So it's curated, but I have to imagine it's also trying to keep

(31:21):
people on their toes. So you bring a lot of newer
stuff in also, right? You don't just play the same
music every night. You can have the same.
Yeah. So we have two, we have the echo
room and then we have a secondary event space.
We've turned in it's, we call itIda Wild, but we do take it to
DJ events in there first Saturdays is how many how?
Many people have been there. About 150.
Yeah, it's a perfect venue. Yeah.
Yeah. And that's one of the things I

(31:41):
really, I'm hopeful for. Everything goes in trends,
right? I caught between Live Nation and
what I was doing and I lived in Vegas for all those big
festivals, right. They were so awesome to start.
They are atrocious now. Yeah.
Like $44 hot dogs at Coachella even hang out where I say you go
every year because we were luckyenough that we known to people
that we got artist badges every year.
They took stuff away. Yeah.

(32:02):
Every year the bet everything got worse and the experience got
worse and they it's been so watered down because again, it's
the sake of profit. So I do believe that music will
make the trend back to more intimate private spaces.
I think that it'll be more reliant on instruments versus
the same freaking 128 beats per minute going So so again, talk
about some artists I can talk. About I mean so from a band

(32:23):
perspective, we just had our second year of a festival called
Mental Awakening Jam Band focused festival we actually put
a stage in the parking lot and we have our courtyard stage so
had about 1500 people there and they.
Love their jam band stuff. Oh yeah, yeah, they widespread
panic because it made its way upto the northeast, but we were
more like Dave Matthews and fishand you know, that kind of

(32:46):
stuff. But the the widespread people
like I've never seen anything like it.
The the the greatest awakening to it and don't get me wrong,
Tool is a metal jam band, but I was at a Tool concert, right
face blaring like I can't imagine how many people were
wearing widespread paddock T-shirts.
It's like this is the metal widespread on my.
That's. Stretching a little far here,
guys, I understand that the whole concert sounds like the
same set of music. Like I get what you're saying,

(33:08):
but let's turn it down a notch. So they love their jam bands
here. So that's one to lead into.
And those people, unfortunately,one of the things I learned in
Live Nation is people's perceptions of music genres is
broken. Like everyone's like, oh, those
male concerts, there's fights. They're the nicest people on
earth. You know where the fights are?
The freaking Backstreet Boys, when 40 year old women who
haven't had a drink in five years decide that they're going
to get hammered and fall down a hill, let me tell you where it

(33:31):
is. Jimmy Buffett concerts where
these 50 year old men try weed and don't realize how much
freaking stronger it is and they're tripping in an alley
somewhere because of it. That's where the fights come
from. It's not the freaking metal
concerts. So fish another one.
Yes, they're sitting there and tripping open balls, but those
people have tripped so many times you're not going to throw
them off by giving them some freaking SO anyway.
So I might have just broken an FCC law or something of

(33:53):
condoning. I'm not condoning, I'm just
making observations so I'm allowed to squat.
But yeah, so we, we have, we had, we had mental awakening.
We just did, we have a Blues series that we're we're running,
we're starting up in, oh, I think it's June with a Thursday
night series called Soul Symphony, which is more R&B,
soul music. What else have we done?

(34:17):
Yeah, I mean, we're just, you know, again, this is same same
applying the same strategy and approach with trying to find
partners and, you know, promoters that that are
bringing, you know, large scale events.
And then we'll book. We have a, we have a handful of
bands that we have. Ath Day is coming.
Up. Oh we got Ath Day coming up,
which is all we got. We got 5 Athens bands coming

(34:38):
over and going to celebrate the music of Athens.
So yeah, we're all over the board just trying to trying to
be diverse. But it is again, when we say
like minded, it is, it is peoplethat are passionate about the
music that are, that are playingthe instruments that are, that
are playing on vinyl that are Yeah, so.
Love it and I and I really want to see it make that comeback.
And it's not a criticism of LiveNation.

(34:59):
Look, this is capitalism, man. I I get all of this stuff, but
like some of the best moments inmy life were never this is an
overhyped 44 hot dog thing. It's like, you know, this is the
moment where I mean, the first made in America ever where like
I stole the wristband to get free beers and like me and like
20 friends just got free beer hammered, right?
That's different than $200 beer hammered, right?

(35:21):
Yeah, Beer Hammer is a completely different thing.
So I just, I, I, I wanted to go around.
I'm dying for it to go around. I'm dying to go see 200 venue
places and they're they're here.Don't get me wrong.
Atlanta's a great place for him.I went to the Earl once and saw
the Struts before they got big. And it was.
I've seen more amazing shows on a Tuesday night at the Earl, you
know. Oh.
My God, I was supposed to see Nathaniel Radcliffe and the

(35:41):
night sweats just as they came out, but I missed it.
So we saw the struts instead andthey blew.
It was, it was 150 people and they, they did 20,000 people
themselves and it was nuts. And like you're in the middle of
like, and it's not even a mosh pit, but they're so you're so
tight. That's just a natural mosh pit.
And nowadays you go to a show and they're like, there can't be
a mosh pit here. I go.
What the F are you talking about?
There can't be a mosh pit here. Who?

(36:02):
Are you the best? Part though, and I'm going to
end on this because we're going to talk about music after.
OK, so we're in the Battery. The Roxy is here.
OK, so I have seen at 6:00 in the morning people lining up for
a show that is at 8:00 PM at night.
OK, so here's my problem. Let me tell you, rule number one
rule #1 is stay ready when the lights go off, bum rush the

(36:23):
front of the stage. Why are you waiting in line to
get to the front of the stage ata concert if they're not seats?
This general admission, all you have to do is put your head down
and go to the front. Yeah, breathing.
Someone's going to punch you in the face when you do it.
This is freaking music. What the hell happened?
OK. So we are going to leave this
segment on that note and we're going to come back and talk
about music just in general and broadly.
So you've been listening to the marketing amendment in extra 106

(36:45):
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Jim Ellis Automotive where you can always expect the best.
Now back to the marketing Mad Men on Extra One O 6 Three FM.
Welcome back to the marketing Mammon at extra 106 three.
Nick Constantino here we broughta guest.

(38:33):
We got producer extraordinaire flounder in flounder.
How you doing bud? Doing good?
How about yourself? Good.
We're going to finish up a conversation with Kelly and
Michaela from West Side Motor Lounge and we are talking music,
so I'm going to set the stage and I want you guys to go.
This is half improv, half whatever we want it to be.
So All right, so you got a musicvenue.
So if there's one band that you could see that would come in and
play for 150 people. OK, set the vibe band you love

(38:56):
Jana, who would that band be? OK, so I'm going to start.
So for me, my favorite live bandever that I think would
translate to really good to small Sage is System of a Down.
And I know it sounds nuts, but First off, they're one of the
most musically talented people I've ever seen.
And the music is just so fast-paced and crazy and changes
pace so much that people who hadnever thought to be dancing
would just naturally be dancing.So that kind of really upbeat

(39:18):
rock, but has kind of that hip hop based background to it would
just be killer in a live venue, Unbelievably killer.
Lincoln Park would be another example, but they're mega.
So it's not the same thing with Chester, but like it's it's it's
rock music, but it has those hiphop backgrounds.
They get people dance and move. So I mean mine Flander.
How about you, bud? So we're talking about a small
venue. We're talking about it could be
the any artist you want. I'm just saying that we've

(39:39):
gotten so big with these festivals that there are so many
artists that don't translate well to mega venues.
That would be awesome in a smaller venue.
Well, right. Growing up in Georgia, the jam
band scene was always big for me.
So you look at widespread or drive Giants told you you.
Know what's coming? Again, I'll go with the original
widespread lineup, but for me I like improv.
SO1 band that does that a lot that's instrumental right now is

(40:01):
a band called Krogbin. OK so I don't know if y'all
heard of them but they're I believe from Houston.
Yes they are. And instrumental lineup.
The guitarist is great, their drummer's great, but the
simplicity of their their music is awesome.
And that's a great point, right,because that part of it, that's
what we talked about. What I hate about shows is that
if you go to see something at the Roxy, the film more and and
and you're. Gonna get the same the.
Same set list. There's no improv.

(40:21):
They can't stop and say let's play something else like they
act like they do, but that's thesame thing as the DJ who's going
like this with the bass pretending like he's really DJ
ING. So, all right, Michaela, what
about you? I think I'm gonna have to say
the Black Crows. OK, black crows, Why?
Playing with Jimmy Page right now, I believe.
Yes, yes, they did. They did some album or they're
doing something together. So I saw that on social media

(40:43):
the other day, so that's really cool.
I actually saw them recently at the Fox.
I guess it was last year or two years ago or something, but just
a great show and I just love watching.
Another Southern band from Georgia.
Too. Yeah, and I'm really mad.
I don't know how to play a guitar.
I love so I knew I loved this mywhole life, but I think modern
country music has screwed it up.I love Southern rock is like a

(41:05):
Yankee, especially like The Allman Brothers were it even
though Creedence Clearwater is from San Francisco.
They're freaking Southern rockers.
I don't care what anyone says, but I grew up like, and then all
of a sudden it was that, you know, I think it was probably
when I was in DC 2005 when this new wave of country music that
came out, which is just 8 idiotson stage with a country twang
and pretending like, and that's just my opinion.
I'm not saying I'm not condoningthat's the case.

(41:26):
But it destroyed Southern music for me because I stopped
listening because I was so turned off by it like the Blake
Shelton's and these guys. It's just not my thing.
I grew up with a grass. I grew up without grass.
I grew up in Queens. There was no grass.
What am I supposed to relate to about this music?
So, but then as I moved down here, I started rediscovering
especially like Loretta Lynn in the 60s country and started
realizing that it's just alternative rock with a little

(41:47):
bit of a twang. So Southern rock is absolutely
one of my favorites. Like Kings Of Leon is another
one. I just, I love them.
And it's so Southern rock. It's so steeped in Tennessee and
everything like that. Kelly, what about you, bud?
Well, first of all, I just saw John Fogerty this weekend at
Jazz Fest. So awesome.
It was amazing. So I spent some time.
And he gets to play all the songs like he he.
Always hit after hit, it's amazing.

(42:07):
Yeah, it's and. They are hit machines and every
song is like 2 1/2 minutes. It's all it is.
I can still do a full. I mean, it's unbelievable.
It was, it was great. Both of his sons playing the
band. They're they're wonderful.
Yeah, it was cool, actually. Kings Of Leon was on my my list,
in my in my head to see them in a small venue.
So I saw them in Vegas. Empire Ballroom is a late night
club. 150 people in 2000. It was probably 2005 when I saw

(42:31):
them, but I remember because I moved into this house with this
wackadoo dude and he had on a wall somewhere like see Kings Of
Leon live. No one had ever heard of them at
this point. And it just presented itself and
I got to see it and it was rightas the the album with On Call
and all that stuff came out. So it was it was early Kings of
the Times because of the times, right?

(42:52):
It was before we started getting.
I still do this, yeah. I think that's their my favorite
album of theirs because it's still very raw.
They played it live and. He still talks like his marbles
in his mouth and you don't understand what the hell he's
saying. Caleb, it sounds like I actually
met them twice in Vegas. I just randomly bumped into them
and they are tiny little people,really.
Like I towered, towered over them and I was like, Oh my God,
you guys really were the sons ofBaptists.

(43:14):
Baptist priest. Carry on.
I'm sorry for the interruption. So Kings only won't be one or
what else? More on drugs.
OK, cool. I don't know if you've ever seen
that. Yeah, I bet really seeing them
small venue would be pretty cool, yeah.
And I, and I hope it goes that way, right?
And like I think there's going to be an Ave. where 150 person
venue people will pay the $100 for tickets to appease the band.
Because in my experience, and this is years ago, but I've been

(43:35):
with bands I used to book concerts for in Vegas when I
lived there. And like the artists used to be
so accommodating. If you weren't charging for
tickets, it's the second you start charging that they want to
cut. If you can get the artist in the
management and you know, most ofthese guys, the promotional
managers and everything are goneand say, look, this is going to
be we're going to only have 150 people and I want to cap tickets
at 100 bucks. You're going to find a wave of

(43:55):
artists that are going to be willing to do it like that will
be willing to have those kind ofshows.
Because honestly, seeing Matchbox 20 at one of these
freaking amphitheaters is so stupid.
Like, do we really need to see the Goo Goo Dolls again at the
same amphitheater for the same tour?
Like, wouldn't it be pretty freaking cool to see the Goo Goo
Dolls with 150 people in there? And like, when you're like, wait
a second, all your music's aboutheroin?
I didn't know that. And then all of a sudden in

(44:17):
concert, you're like, you're both ugly now.
I get it. You are.
You both look like heroin atoms.I understand.
This now a lot of the festivals are doing that now where they do
the late night shows, especiallyin Atlanta with Shaky Knees and
stuff like that. Because I mean, every everywhere
from Northside Tavern, people played and I forget what's the
place right behind Howell Mill. It's the Eastern.
Yeah, no. No, not the Eastern OH.

(44:39):
My buddy Scott built. Jesus Christ, it's right off of
when you turn left and you go left, right, next terminal, W
terminal. West Terminal West, yeah.
So I used to live right there at1016 Lofts, yeah, so I'd go
there all the time. But places like that, I mean,
you see a lot of late night shows and kind of the bands.
Black Rebel Motorcycle Club played there a few years ago and
so. Awesome, they do a ton of covers
too. Black rebel motorcycle.

(44:59):
They do really good live shows with covers and everything.
Yeah. And look, I guess it's wishful
thinking. And eventually the cycle seems
to be disrupted right now about the economic flow and
everything. But I think people are just
going to run out of money. They're not going to be able to
see and support all these shows,right?
Like, well, we're not a, we're not an album generation anymore.
We're we're a single song download.
People don't listen to albums like we do anymore.
So. Which is a shame I.

(45:21):
Mean big time we. We did a partnership with 99 X
and Pearl Jam was last night. So we sent one of one of our
executives at the company to Pearl Jam.
I was like, how was the show? And the look said it all.
And I'm like, let me guess, theyhad a new album they were trying
to promote. And of course, and, and instead
of playing what people want themto play and they're doing 2
nights. I'm going tomorrow.
I get it. They're doing 2 nights.
I get it. But like, and one of the

(45:42):
problems, and I think this is really relevant to like the
Chili Peppers, like the music just doesn't sound the same
anymore. Our brains are naturally
gravitated around different types of music.
So sitting and hearing a Chili Peppers album from 99 that's not
the Chili Peppers from 99 just sounds weird.
Like Pearl Jam. It's the same thing that's.
What about going to see bands like more jam bands because
their setlist is always different, I mean.

(46:04):
Like their setlist is one song that goes for 2 1/2.
What do you mean? It's the song that never.
Ends like 3 songs. But the cool thing about that is
most of those bands don't tore off album, they tore by season.
Yeah. You know, and you're right, it
goes both ways, 'cause I also don't want to see a band come
and play an album cover to cover.
Like what? So there's got to be a blend.
It's got to be it's. Good to see bands or they've

(46:26):
made it to the point where they don't don't have to tour on an
album, they can just tour based on their fans and when they want
to tour. But but, but if that's the case,
then they should be taking feedback from the fans and
playing music that the fans wantto hear.
Right, right. And, and if we're, and that's
where I want to be, right, I want to be.
And I get it. Like man, if you're playing
50,000 person stadiums, you're not going to.
Get that intimacy or that. You're not going to get it.

(46:47):
You have to play what the masseswant, like when we saw.
Guns and Roses, a perfect example for that.
They're about to go back on tour, I think, and you know
they're going to play their hitsand that's what people want to
hear. So it's, I mean that's.
Because Axl Rose can't remember the new scenes, so like the
other ones are at least ingrained in his memory.
So spaghetti incident so. Well well, guys, this has been
awesome. This was a fun last segment.
I'll probably put this out by itself separately also so Kelly

(47:11):
Michaela, it was great flounder thank you for joining us.
Give him real fast website Instagram how to find you at
Westside Motor lounge. So go check out Real Music All.
Right, it's westsidemotorlounge.com
Instagram is Westside under score motor Under score Lounge.
Right, I'm going 2 minutes late.What's your favorite on the menu
food wise and drink wise? Food wise is the smash burger

(47:33):
okay? Drink wise is the pink Cadillac
Margarita. Love it.
I was gonna say that what you got?
Pink Cadillac Margarita and food.
Pink Cadillac is Bruce Springsteen has a pink Cadillac,
Yeah. Yeah, and I always get a salad
and fries. That's just what I do.
So you got to be a little a little bad and a little good at
the same time. That's a perfect way to sum up
the show. You've been listening to Mark

(47:54):
Mammon and Extra 106 Three and we'll catch you next week.