From the Artist Archive is a series of short interviews with Logan-based artists and Assorted Grains members.
This is in Part 1 of our chat with Dan Endicott, musician, artist, producer, creative worker and stage technician.
In this episode, we talk about his fascinating background and what has shaped his work, and his influences. We delve into the role of entertainer in connecting with our audiences and the changing shape of the music industry.
We even chat about and adapting a sci-fi book into a musical and breaking down a mammoth project like that into smaller, sellable chunks. So much gold!
Make sure you don’t miss part 2 of our chats for more. Subscribe to get the next Artist Archive interview straight in your inbox.
Find and follow Dan and his endeavours online
Assorted Grains artist directory archive: (coming soon)
Ali – 00:00:00
Hello and welcome to our series of mini interviews from our artist’s archive. My name is Ali Strachan and I’m the president of Assorted Grains. We’re an artist run not-for-profit who create bold, multidisciplinary events and experiences for the benefit of the community.
Today I’m going to introduce you to Dan Endicott. Dan is a southeast Queensland musician, artist, producer, creative worker and stage technician. He is passionate about advocating for the arts creating cultural spaces and nurturing independent underground counterculture, especially through stimulating vibrant life music scene.
And speaking of music, he’s also a singer songwriter and bassist for the rock pop garage band. The Stomps. Dan works at QPAC is a casual lighting technician and is a freelance production manager and lighting and AV Technician for Topology Music, and producer of live music events through his production and equipment hire company, Odyssey Entertainment. Welcome, Dan.
Hello. Thank you for having me.
Ali – 00:00:59
Nice for you to give me a few minutes of your time given that you’ve had a crazy, crazy schedule lately.
No worries. My pleasure.
Ali – 00:01:06
One thing I didn’t mention is that you’re also working with Logan-based sci-fi writer, Ged Maybury to develop Edge Town, which is a musical comedy stage show. And that’s coming up pretty soon, too, isn’t it?
Yeah, it is. We’ve been working on that for quite a while now. So it’s been a lot of fun. Yeah, pretty exciting.
Ali – 00:01:27
Yeah, I think he broached it with me in 2020. So I’m sure it’s been in the pipeline for much, much longer than that. So…
Yeah, I think I’ve been involved for at least a year, two years, maybe. Yeah. Lots of fun.
Ali – 00:01:39
Yeah. So you’ve got quite a varied background. Just going by your bio. I would love to know what you did before you got into the arts and what has really shaped your work?
Ooh. Yeah. Oh, okay. Well, I was sort of like born into the arts, really. My father was an actor and playwright slash screenwrite. And so my early memories of him on the old, Baba, bang, bang, bang, bang, bang, bang, bang, diiiing bang, bang, bang, all through the night just until he got an electronic typewriter, and then it was a little bit more fancy sound effects.
And so, from an early age, I was also like, roped into bump ins in Villanova players and Brisbane arts theatre and operating lights and sound and stuff like that as a primary school kid, so I’ve been sort of doing it all my life really and been around it professionally.
Before I actually worked in the arts and went to QUT, I was in retail land, and also community service sort of stuff like helping charities and stuff like that. So I did a lot of that sort of work throughout my high school years sort of helping Franciscan Mission it was and so yeah. I don’t know if you remember Franklin’s no frills?
Ali – 00:02:57
That was predominantly what I I worked in throughout high school as my like part time, Thursday night, Saturday, trolleys, then shelf packing, and then checkout chick.
Ali – 00:03:07
Do you think the customer service stuff really helped with the community engagement side of your work?
Yeah, actually, the community worked before that as well you know, helping poor and homeless people and, and struggling families and stuff like that. So I guess I’ve always sort of been that way inclined to make a difference, rather than just doing a thing for money. And the arts became the obvious medium to do that.
Ali – 00:03:33
I guess lots of people consider arts as not being very commercial in that sense. Anyway, you do it for personal reasons. And a lot of people that I meet, like yourself, are very passionate about the arts for those reasons.
Yep. I guess I’ve got one foot in arts and one foot in entertainment. Because there is definitely a crossover, like the rock and roll, entertainment industry, cinema industry, all that sort of stuff. And I ran a venue for years as well, where you have to be business minded to keep it afloat, and so I had to pay people and that sort of thing.
So arts and entertainment is, it’s sort of hard to be a technician and be exclusive to either of those, because the work does overlap with grants and that sort of thing as well. So…
Ali – 00:04:23
Yeah, and for sure, being a musician, you know, knowing the stage craft behind it, obviously make a big difference to how you perform, I guess.
I hope so. I haven’t learned much If it hasn’t, not after all these years. I guess running, I used to run the Globe Theatre and before that, the old museum building in Brisbane and the Pink Palace and a factory space, helping emerging artists and bands, um, from around about 1999 to 2011. So a good sort of decade, or so.
And in that period, I guess I became acutely aware of the fact that you can’t take audiences for granted that these are people that are paying money and coming out and spending a night of their life to have a good time, be entertained, be educated, be enlightened, whatever. But as a musician, there’s a lot of self-absorbed artists out there and musicians, and that’s fine. But they also can potentially overlook their audience on a level, that it’s all about them and not the audience.
And so I became acutely aware of giving the performer has to give, otherwise, there’s a disconnect, and then there’s a void between stage and the audience. And then sure, we can get up and be the most amazing musician, but if there’s no connection between the audience and the artist, and the audience, then sort of missing the point in a way, it becomes a bit more like a gallery piece then like, you know, like an installation. Yeah.
I’ve seen installations actually, like it’s engage with audiences more than some artists on stage, which is like, really like, Oh, my God. And there’s also a generation of bedroom musicians that are pretty prevalent in these times where everyone’s living closer together in like, apartments and in shared housing and stuff. And the buildings that are closer in noise issues become more and drum kits are less common.
And, and so I guess the singer-songwriter has sort of come out in the last sort of 20 years as being more prevalent than rock bands in a way. And part of that is introspective music, I guess. And so then, that’s a challenge for those artists, I guess, come out of your shell don’t just don’t, just like share your heart space, but also connect. . With the people in the space in real time, you know, be there be present. Yeah.
Ali – 00:07:01
Yeah, yeah it makes total sense. And as a staunch introvert who is, you know, quite happen to sit behind my keyboard and write stuff, it’s an every day challenge.
Dan – 00:07:10
Yeah I am too actually. Yeah
Ali – 00:07:13
I think it’s, it’s a challenge for me, even in this role, you know, as President of this organisation to be able to kind of connect with people. And because it is, it’s one of those things we can’t take audiences for granted. We can’t take our members or our supporters or all the other artists in our network for granted.
Dan – 00:07:31
Yeah, for sure.
Ali – 00:07:33
Yeah. So if you were to say, the work that you’ve done, shaped you in that kind of way, is there anyone any significant person or artists in your life or someone that you grew up listening to? Or know of that has shaped your work as well?
Dan – 00:07:48
I’d be really remiss to like not mention the Beatles, I guess, because they sort of turned me on in terms of music as a teenager. And they’ve been with me ever since, you know, saving my life several times along the way. And I guess they’re such a pivotal moment in cultural history, and how much they’ve affected fashion and arts and films and other musicians and recording technology and PA technology and everything since, that it’s really hard to overlook them or even move on beyond them.
I keep going back to them. But I’m, I’m sure my story is not very unique in that. But as a teenager in the 90s, I was probably the only one listening to them. There was like this, it was like the age of Nirvana and U2 and all those sort of bands… and the Beatles? What’re you’re doing? You know, like, yeah, yeah, it was it was extremely odd at that time.
And my work with the Franciscan Missions, I actually came across them through that. I found my dad’s records, but there wasn’t a record player in the house by that age. So yeah, that’s, that’s definitely pretty pivotal, I guess. And since then, there’s been, you know, hundreds of artists and things that have inspired me along the way. So, yeah, these days. In terms of artists, I actually get into more female artists, I think, more than anything of like new music. I think it’s just the energy and just the freshness of it. And the creative invention of music. So like, just tends to like, attract me a bit more in terms of inspiration.
Ali – 00:09:31
You have any examples? Is a bit hard to pin down?
Dan – 00:09:35
I guess. Like, you know, I’d say I hate Kate Miller Heidke and Megan Washington, Germ. There’s a lot of them have sort of like current artists that are out there, but also, I guess I’ve gone back in time as well like Joni Mitchell and Janis Joplin and those sort of pivotal artists, Carole King and stuff like that. That I didn’t really listened to growing up, but I’ve gone Oh, wow. They’re just so incredible. You know, they were like pioneers.
Ali – 00:10:07
I think it’s a really lovely thing to go back in time and rediscover somebody.
Dan – 00:10:12
Yeah. I do have read memories as a young child being absolutely adoring of Olivia Newton John, and Dolly Parton. Yeah. Anyway, so I guess those sort of artists, they were like, around my mum’s sort of social circles and my artists and stuff like that. So I was going there on the radio all the time. So they became huge but not really obvious until I got older and wiser. Oh, my God, all these hits, that were just so much a part of the fabric of the times in my life. Yeah.
Ali – 00:10:45
Yeah, there’s been some really, I guess, kind of iconic female artists, I think that have really shaped the last century of music that I don’t know whether it’s just because we’ve gotten older now, you know, those grown up with those people to see that they feel that that there’s such a gap when they’re not there anymore. Yeah. And if they weren’t producing anymore, it was just, it leaves a huge hole.
Dan – 00:11:07
Yeah, it’s almost each one of them held so much more weight than a dozen male artists, because there’s so many more male artists and the industry was so male centric, that it just flooded us with that side of it. And that you pull one of those female artists out, there’s this huge hole. Yeah, yeah.
Ali – 00:11:27
So I mean, I guess just for the audience sake, how would you describe The Stomps then, in terms of music?
Dan – 00:11:34
Okay. Well, I’m still discovering, in a way, what we are and what what it is we’re trying to do. I guess we ask a little catch cry is that “we’re from the past to save the future”, like back from the past, sort of, and we really are. We use a lot of vintage gear, organs and amplifiers and guitars and stuff. And our look is very much old school, rock and roll vests and ties. And at this point, that’s sort of what we’re, we’re just trying to pay our dues, I guess, because so many artists get up there and go, “Well, here we are. We’ve we’ve arrived!” Here’s our big, you know, hairdos and everything, and we’re like you.
Ali – 00:12:12
I’m fresh and I’m new!
Dan – 00:12:13
Yeah, yeah. And all that. And I guess it’s just like, Well, no, let’s it’s just like, well no. We’ve been working hard over the whole COVID period just rehearsing. So we’ve come up with like a couple of hours worth of covers, because we were thinking, that’s what we would do is just go out there and just play covers of the 60s and stuff that we loved.
The older tradition was a band would have to play to the audience and entertain them. And so they’d have to learn all these standards, as they were called back in the day. And then if they were very cheeky, they could sneak in one of their own. And so the Rolling Stones or the Beatles, and all those bands back, then they were all doing the same sort of thing, sort of, they were the hired entertainment for the night, if they got up there and just played nothing but their own music, they would probably have emptied the room and not got another show.
So it was all about playing to lunchtime, or dinner time crowds and stuff like that. So I guess we’re coming from that sort of tradition of let’s build our own base and not expect that people will just love it straightaway. Having said that, we’ve been around for for years as individuals, and we’ve written lots of songs between us all. And so now we’ve got this vehicle now we’re just starting to like, Okay, here’s one of yours. Here’s one of mine.
It’s just like, let’s work these songs. And so we’ve got like 40 minutes or so, bit more of originals that we’re playing now. So all these shows that I’ve been booking are predominantly original sets. And we’re just mixing it up with a couple of covers here and there just to keep them tight and on the boil and just also give a bit more framing, I guess, to our style. Yeah, it’s a bit of fun, but we’re doing it mostly just for our own fun because we love it. So hopefully other people will like it enough to support it by showing up to gigs…
Ali – 00:13:59
I’ve been meaning to get along to one of your gigs, but I just find it hard to get out.
Dan – 00:14:03
Yeah, we’re trying really hard to record some stuff at the moment to have an EP but it’s so hard with you know, the older you get. Everyone’s got like commitments and stuff. And it’s hard enough just rehearsing once a week. But we’re all pretty committed to it. So it will happen.
Ali – 00:14:16
Do you have a space?
Dan – 00:14:17
Yeah, we do. We rehearse that our keyboardists home studio, which is great, because he’s got the Hammond organs and stuff. And so moving them around any more often than our gigs would just be horrendous. You know.
Ali – 00:14:30
I can imagine. You could always do the Foo Fighters thing where you go back and do old school and record on eight tracks.
Dan – 00:14:37
Yeah, yeah. We were hiring a rehearsal room just before he came on board, once a week and that was okay. But it was a lot of work. It’s, you know, loading the Combi and driving it to the rehearsal room and then unloading it and then setting up and then having the energy to rehearse and loading the Combi and then driving home.
It’s just it’s just like a gig basically at that point. And doing that week in week out. That’s the big ask on people. Having a room where it’s luxury, you know, it’s what I’ve always wanted, what every musician always wants. So I feel pretty blessed about that actually.
Ali – 00:15:09
Yeah. Yeah, that’s great. When I was first dating my husband, I was about 18. And he was still in high school. He was in his last year of high school. And we there used to be a recording or band rehearsal studio at Underwood called Grunt Machine.
Dan – 00:15:24
Oh, I remember Underwood’s Grunt Machine. Wow. Yeah, yeah.
Ali – 00:15:51
They had a ska band back in the day. So we’d have we’d trek over and I’d be their roadey and bring, bring the amps and guitars and stuff with them. But that was a lot of fun. Just doing that stuff. They didn’t play a lot of gigs back in the day, but they had a lot of fun rehearsing.
So yeah, so what is your creative process then from writing songs, or whatever it is that you’re creating from start to finish?
Dan – 00:15:51
Okay, well, it’s an interesting question, it really comes down to what the project is like. So with Ged in Edge Town, it’s an extremely different project than the band, or Ballet Theatre Queensland that I’m Production Manager for topology on the road with them.
So okay, just briefly, with the band, song writing. I tend to write my own songs, or have ideas that germinate over a while. And I’ll come back to them in my head, and I’ll have lots of scraps of paper and ideas. And then I might wake up one morning, go, oh, my god, is that part that’s missing? Eventually, it’ll get to a point where I go, Okay, it’s ready enough to take to the band. And then it’s at its second sort of gestation period, I guess it’s still an embryo. As in, like, I want to give ownership to the band to create their parts. While keeping true to the, I guess, the form of it.
I’m pretty cheesy, too. So it’s also about them pulling me out of, don’t so cheesy, or maybe them like going yeah, okay, it’s meant to be cheesy. Sure. Let’s be easy. We’re all pretty cheesy in The Stomps.
So it’s not too bad. Really, it’s. So I guess, that’s a lot of fun. And also just finding the soul of the song. And until it’s really recorded and put down on record, which is where the word comes from, for posterity, and for public enjoyment. It’s still finding its feet, you know, it’s still a baby and infant. It’s still a nebulous thing that, oh, maybe we need to remove that verse or cut that altogether, or change the whole sort of style and treatment offered or or there abouts. So, yeah. Which it’s really amazing ancient art form music.
So I think that’s why I’ve chosen that to be my personal like, this is what I wanted to do as a as an artist for myself. So putting that to one side, me as a professional, and how I live and my living and stuff like that. I help others deliver their babies. So like I’m a midwife, I guess. So with Ged, he’s been writing this show, which started off as a novel. And then he played with the idea of it being a film. And I think he put that to the side and going well, maybe it should be a stage play first.
And he did some posts. And I was like, oh, that sounds great. I’d like to write some songs for that. So I came, as a song writer going, I’ve got all these imaginings of being almost glam Bowiesque. Yes, the music for this piece, because I was just inspired by the title, really. And I thought, Oh, I better read the damn thing.
So is he going to listen to this? I better read the Holy transcripts of Edge Town by Sir Ged Maybury.
Yeah, so we’ve got a pretty good rapport, me and Ged, and a very similar sort of comedic sense of language between ourselves. And so I started reading it, and I was getting into it. And I’d have to ask questions, like what do you mean by this? What do you mean by that? Oh, so let’s strip this back. Anyone that watches this is not going to have the book, you can expect them to have read the book, we have to educate them.
And anything you don’t tell or show doesn’t exist. It’s not in the universe. You’ve got to start from scratch, you know, a play and or a stage show or a musical. And so we went through the entire script, and pretty much rewrote it tightened up the gags and it still needs to going over again. But that’s probably a next year problem.
So what we then decided was we had this thing, it was massive and was like, Okay, what are we gonna do with this? Neither of us like, own a bank to be able to put this thing on the road. So I said, well, maybe we should try and get an RADF grant for $8,000 and strip back the story to a pilot, a teaser, like, like you would if you were trying to sell a film or a TV series to producers.
And I don’t know if anyone’s ever really done this with a musical but I thought well, it’s a way of him being able to manage it. And on a financial level and also just as a task, because it’s such a massive task. And so we were like, Okay, let’s have five or six scenes. And he cherry picked the the five or six scenes, which is sort of almost like the prologue, the beginning. So we pick the scenes, we tighten them up, we made them funny as we could, we worked out a way of, I guess, me as production manager, and creative.
I’ve gone, okay, we have to make this affordable with the least amount of cost possible, so that we can pay everyone the least amount of costume changes, how we can sequence these things, and not give away too much of the story, but enough to give the flavour of the humour and of the place and a little bit of a teaser of the of the saga, I guess, or what it’s about.
And so we did that, and we created it, and we put together a grant, and we’ve been successful, and we’ve got the grant, and we’ve booked the Logan Butterbox Theatre to do a couple of days, and we’re gonna film it. So basically getting back to what the whole thing is, we’re filming it to create a show reel that he can then take it and send it off to venues or promoters and go, hey, this thing exists, there’s a full script, this is what sort of like; Do you like it enough to want to invest in it and take it on on your own, or, you know, put money into it? and he does it.
So I guess that’s there’s lots of possibilities once it’s out there as an idea. But until that point, it would just literally be a script on paper, that is a harder thing to sell. And so this will give you a flavour of the music, the comedy, the pace, it’s very Monty Python cross with us, I suppose D-generation and you know, the Goodies and the Goon Show, and just that sort of wacky humour, and lots of troping very, I guess. Lots of sci-fi stuff.
Ali – 00:21:47
Yeah I guess there’s all that funding stuff, you know, you’ve got a little reel, you can always, again, fund the next stage of things. And it’s like, one thing leads to the next, then leads to the investment that leads to a tour that leads to whatever.
So, you know, I think you’ve done you’ve been really clever with how you’ve approached this project, because otherwise, when first talking to Ged it just sounded like bigger than Ben Hur. And I knew that he was struggling to kind of grasp the nature of the novel and distil it down into something like you have.
So it was almost like a meeting you was was almost like a blessing because you have such, you know, that performance, stagecraft background to his writing, and just the marrying of your two personalities, I think. I can’t wait to see it.
Dan – 00:22:31
I guess. Yeah, it’s a lot of fun. Hopefully, it all sort of comes together fine. So we’ve been working on the sound design of that, and I work in lighting as well. So just contemplating how it’s going to sound and look. Yeah. So anyway, there’s sort of nothing to lose, really, because as long as we get at the end of the Butterbox thing, something that he he can film, or that we can edit.
And we’re utilising services of Jimmy watts with Bad Octopi for that, who’s Logan-based. And also, he’s an Assorted Grains member, too. So he’s come on board to we’ve already done one day of filming of a specific character and some models and stuff. So there’s like some puppetry and Thunderbirds-esque sort of nods in the whole thing as well. So it’s very multimedia, actually, hopefully all comes together.
Ali – 00:23:24
It sounds really cool. My brother is very similar to you. He’s five years older than me, but he’s, you know, got that same sense of humour. He’s into Richie Benno, and like all of that really corny, and I just, I think it would love it as well.
Dan – 00:23:39
Yeah, cool. Well, it’s free entry as well. So like, we’re not charging.
Ali – 00:23:43
So audiences are welcome?
Dan – 00:23:46
Audiences are encouraged.
Ali – 00:23:46
I’m gonna hit up my brother and say, oh, we need to go into this.
Dan – 00:23:51
Yeah, definitely. Like, definitely come along. Yeah. So that that’s that with other sort of productions and stuff, it’s, it’s probably a little bit more dry. Like the ballet that I production manage. There’s designers and choreographers and so for that, it’s very much a nuts and bolts sort of process of like, okay, here’s the vision, without me really imprinting my eye and creativity on the look or the sound, how do I make it work for them and serve it sometimes there’s creativity in the process, and I do a bit of set building for them and whatever it requires. So, so that’s, that’s its own thing.
And Topology, I’m bit more of a lighting designer/operator with them on the road. So that’s sort of jamming with lights and being creative and working with a combination of whatever each venue has, in terms of their equipment inventory, and also what we tour with us.
Ali – 00:24:46
And that’s using like multiple different venues across Queensland, which is all different…
Dan – 00:24:50
Yeah, we’re about to do like a three week tour around regional Outback Queensland and North Queensland. So there’s going to be all sorts of different scales of venues in that, and we have to tour everything with us in case we turn up to a hall, and there’s nothing or it’s all broken.
And that’s often regional tours, it’s often the best way to do it, especially on the smaller scale. Venue runs, where you just don’t know what you’re walking into, you know, might not have been turned on for a year, or now on in the town might not know how to use it.
And we do a lot of backstage bootcamps where we actually go to places that go, right, this is what you’ve got, this is how it works. This is what you need. If you could get a grant, this is how you can make it look as good as it can. You know, this is the safe way of doing it. This is how you focus a light. This is how you turn on a microphone. This is how you mic a drum kit or whatever. Like there’s so many different skills, little skills, and no one can learn it all at once. Because it’s years and years of shared stuff.
Ali – 00:25:53
Yeah, I’m sure they’re very grateful for that too. Because I know that sometimes somebody who will be really passionate about putting this, this system in and getting the most out of it will move on to a new role. And then the person left behind just like, I have no idea!
Dan – 00:26:04
Yeah, that happens a lot of schools as well, where you get a teacher that, you know, is like whiz bang, and they get a grant or whatever. And they load their school hall with the most state of the art stuff. And then they leave. And then they’ve got this amazingly equipped room that no one knows how to use. And it’s, it’s quite crazy. And it happens so often. It’s a bit of an adventure. Really.
Ali – 00:26:22
It’s yeah. From from the days, yeah. And that’s, it’s good. I think you’ve just got to be willing to be adaptive. And I guess that’s one of your skills. As far as you know, how you apply what you know, into different scenarios seems to be so varied.
Dan – 00:26:40
I remember doing like a battle of the bands back in high school, our school hall and going up into the bio box and seeing all these light faders and stuff and going, oh my god, this is a flashback from when I was a kid at community theatres and stuff. And I got it all working. And I was like, oh, I was very under resourced.
But I keep having that flashback when I go to schools and stuff going, oh, here’s these kids that are so keen. And they want to know what to do. And they’ve got this stuff, but they don’t know how to use it. And even just a little bit of my time can sort of like, turn the cogs and go, oh, and I give them that missing key so that they’ve got that thing, and they want to do this thing. And they can sort of make it work. Or at least they can go Oh, wow. Okay, I know what he’s talking about. I know what to Google now.
See, there wasn’t even Google when we were young. So we really were just guessing a lot of our way through stuff. Whereas now if you give them a little bit of guidance, often you turn up at schools and the kids know more than you about something. And you go whoa, okay, is like crazy, mad geeky genius at work here. I’ll just stand back. And what can you teach me sort of thing. So that happens a bit, which is fun.
Yeah. But going back to our earlier, chat about the bedroom artist, often they don’t have the practical application or the real world how you integrate that with a live performance. They might have YouTubed it like crazy. They might have sat in the room and worked out how to plot lights and stuff like that. But how you actually use that for live people on stage? How you actually go up and down a ladder, how you carry stuff, a safely do things? How utilise what’s up there to suit the purpose, and not have to move everything? Yeah.
Ali – 00:28:30
Yeah, for sure. I think it’s one of those things that they tried to incorporate into, Logan Live when they were doing it because they were finding a lot of the emerging musicians that were coming out and wanting to perform in cafes, didn’t have that skill of being able to set themselves up and plug in it and do all that stuff. So yeah, it is really important.
Dan – 00:28:48
Yeah. And I guess most art forms are sort of tunnel visioned as well, like they’re doing their own thing. And so they spent years and years and years learning how to play their part or read dots or spin discs or you know, whatever. And that’s great. But then as soon as they’re off outside the little boundary of that particular art form, they’re lost. They don’t know what to do. They don’t know how to plug anything in. And I’m like, God, you know, don’t fall off the chair.
Ali – 00:29:16
And you can know all the theory right?
Dan – 00:29:18
Yeah, well, thanks for having me.
Ali – 00:29:18
Yeah, no worries. Where can people find you? They want to look you up.
Dan – 00:29:21
Yes. The Stomps is probably the obvious one to say, @TheStompsBand on Facebook and Instagram, and @OdesseyEntertainment on Facebook as well, like terms of production, lighting, sound equipment, and that sort of stuff for advice. Yeah.
Ali – 00:29:39
Well. it was great chatting. I love this. I love our chats.
Dan – 00:29:39
Yeah. Awesome. Great. Thanks very much, Ali. Bye!