Bekah Zietz Flynn of Sub Pop Records Sharing Stories about Seattles Record Label

Bekah Zietz Flynn from Sub Pop Records is our guest for this episode.

Bekah is a Publicity and International Promotions Manager for the Sub Pop and Hardly Art music labels.

Sub Pop was founded in 1988 and is often called the label that brought us the Grunge Movement. Some of the well known names that have been published on Sub Pop include Nirvana, Soundgarden, Mudhoney and Tad. Later on The Shins, Flight of the Conchords,  Fleet Foxes, Sleater-Kinney and many, many more artists have had music released on Sub Pop.

Bekah shares stories of her years at Sub Pop and how she came to find herself employed there.  We talk about some of the bands she has worked with both is promotions and in the A&R development.

We chat about what it takes in the music business to promote an artist in the time of Covid and how the industry has adapted to the lack of live performances to help artists gain exposure and build their audiences.

Such a fun time having a conversation with someone who is so deeply involved in bringing music to all of us daily. If you are into the Seattle Scene or a fan of music you will love tuning in to this episode.

Make sure you check out Sub Pop today!

Thanks for tuning into this episode of the Exploring Washington State Podcast! If the information in our conversations and interviews are enjoyable and valuable to you, please head over to iTunes, subscribe to the show, and leave us an honest review.

Your reviews and feedback will not only help us continue to deliver great, helpful content, but it will also help us reach even more amazing listeners just like you!

Bekah Zietz Flynn of Sub Pop Episode Transcript

Bekah Zietz Flynn [00:00:00]:

Being familiar with the label is is Nirvana, I think. You know, we put out Nirvana’s first album, Bleach.

Scott Cowan [00:00:25]:

Welcome to the Exploring Washington State podcast. Here’s your host, Scott Cowan. Alright, everybody. Welcome back to the Exploring Washington State podcast. This is that part where I stumble over names, but it’s I’ve got Bekah Zietz Flynn on. Bekah, did I say it right

Bekah Zietz Flynn [00:00:41]:

this time, finally?

Scott Cowan [00:00:42]:

Please say yes.

Bekah Zietz Flynn [00:00:43]:

Yeah. You crushed it.

Scott Cowan [00:00:44]:

Yay. Alright. So Bekah is with yay. Bekah is with Sub Pop. And so before we get started, we have to test your credibility.

Bekah Zietz Flynn [00:00:51]:

Alright. I’m here. I’m here for it.

Scott Cowan [00:00:53]:

Sub Pop records started in okay. Sub Pop records started in Burlington, Vermont No. But Austin, Texas or or Olympia, Washington.

Bekah Zietz Flynn [00:01:03]:

Well, I mean, theoretically, you know, sub pop started in Olympia. I will say that I did go to school in Vermont, so I do have some pride for Burlington.

Scott Cowan [00:01:12]:

That’s why I put that in there. I was gonna say because your journey

Bekah Zietz Flynn [00:01:15]:

for that.

Scott Cowan [00:01:15]:

Yeah. Your journey.

Bekah Zietz Flynn [00:01:17]:

That’s a part of my journey, not Sub Pop’s journey.

Scott Cowan [00:01:19]:

So your journey to Sub Pop. Yes. So why don’t we really quick kinda give us that that overview of of Sub Pop from from its early days, condensing all those years down into then we’ll talk about, like, when you started there because you said, you know, I I believe you got a story there. So so Sub Pop, you know, Sub Pop one zero one for our listeners.

Bekah Zietz Flynn [00:01:42]:

Sub Pop one zero one. Sub Pop is a record label that was it did it did theoretically start in Olympia, as a zine. So it was called Subterranean Pop, and that was founded by Bruce Pavitt, who is one of our cofounders of the label. And then and that was in I think we were I think if we were going back, that was, like, 1986. But Sub Pop’s actual date as a record label is 04/01/1988. So this is our thirty fourth year. Had to do some quick math, just to make sure because what you know, what’s time in numbers right now? But that is Sephora is celebrating its thirty fourth anniversary.

Scott Cowan [00:02:26]:

No kidding.

Bekah Zietz Flynn [00:02:27]:

I’m sorry. That’s I mean, e even without COVID or whatever weird vortex we’re in, it’s, you know, just in general. It’s winter. Who knows? But that’s when Supop was founded and put out our first release. And since then, we’ve been lucky enough to, you know, work with artists. I think, you know, most people’s point of entry into familiarity. I like how I can’t spell pronounce words. Being familiar with the label is is Nirvana, I think.

Bekah Zietz Flynn [00:03:02]:

You know, we put out Nirvana’s first album, Bleach. And since then, I’ve worked with artists like Mudhoney and Soundgarden and Father John Misty and Fleafoxes and Beach House and Wise Blood, and The Shins, Iron and Wine. Those are some of our postal service. Those are some of our bigger artists that we’ve worked with and and other you know, we’ve been tons of other artists ranging from hip hop group Shabazz Palaces to rock band Mets. I mean, we’ve we’ve spanned genres, you know, through we kind of release everything. So Yeah. I think, you know, sometimes people think that people’s point of entry into subpop was like, oh, they’re a grunge label, but we’ve always kind of been releasing a very eclectic roster of artists.

Scott Cowan [00:03:55]:

Well, I okay. So I’m a Washington State native, and you’re my my point of entry was Nirvana and, Soundgarden because they were playing the local scene and we could see them, and then all of a sudden records came out. It was cool. So I I kind of lumped Sub Pop into that, admittedly. So but now now SubPop is part of, is it don’t I hope I say this. Is it Warner? Did I get that right? Did I get that?

Bekah Zietz Flynn [00:04:29]:

Kind of. I mean, they’re part we they have a share in SubPop, but we’re partly owned by them, but they have no, like, in in as in regards to my day to day and involvement in Sub Pop, I I don’t deal with anything Mhmm. With with Warner. They’re not, like, involved in our Oh. In in any of our, like, business, really. So yeah.

Scott Cowan [00:04:52]:

Day to day

Bekah Zietz Flynn [00:04:53]:

So, like, the the big bosses could could talk about the minutiae of their involvement, but I, like, I don’t I don’t deal with anyone here.

Scott Cowan [00:05:00]:

You no. Alright. Well, let’s let’s talk about you because that’s what the show’s about, really. You’re you’re a sub pop, employee. I’m reading off of your now before I do this, I’m gonna ask you, is your LinkedIn up to date?

Bekah Zietz Flynn [00:05:13]:

Probably not. But maybe you know what? Let’s get let’s get weird. Let’s get in there. I don’t know. I I mostly keep it up

Scott Cowan [00:05:20]:

to date. So it says okay. It says you’re the publicity international promotions manager and A and R at SubPop.

Bekah Zietz Flynn [00:05:29]:

Is all up to date. Yeah.

Scott Cowan [00:05:32]:

Perfect. And then but your email signature also mentions the the sister label, Hardly Art.

Bekah Zietz Flynn [00:05:40]:

Yeah. So, basically, Hardly Art, first of all, is celebrating. No. No. No.

Scott Cowan [00:05:45]:

It’s it’s

Bekah Zietz Flynn [00:05:46]:

the Hardly Art is our sister label, and it’s we’re celebrating our fifteenth anniversary this year, which is really exciting. And, we’ve kind of you know, over the years, it’s kind of gone through, you know, figuring out how we kinda integrate and kinda keeping it separate entities. And so now over the past few years, it really has kinda folded back into it is its own label outwardly, but internally, we kind of handle help handle marketing and, promotions, the same the same team. So, you know, two different labels separated by love, but the marketing component is all inter is is all intertwined with subpop. So I handle press and radio or I handle press and international radio and press for Harley Art as well.

Scott Cowan [00:06:42]:

Okay. So you you went to the University of Vermont. And so my my my so to my filters of the world, that means you’ve never heard of the band called Phish. That’s I’m sorry. I just associate Phish with the University of Vermont. I just, like to me, they’re they’re, like, linked, and I don’t know why. But when we talked earlier, you said you kinda had a a story about your journey to sub pop. Why don’t you tell us how did you end go from Vermont to to Seattle?

Bekah Zietz Flynn [00:07:21]:

You know what? My my journey to sub pop is the same journey to Washington. So they’re one they’re one and the same. And so since

Scott Cowan [00:07:27]:

this is

Bekah Zietz Flynn [00:07:27]:

a a Washington podcast, I, you know, I can kind of go into why I decided to move here and how subpop was kind of involved in that informing that decision. Unfortunately, I I I will say this. Listen. Music is for everyone. Phish is not necessarily sonically my go to. I didn’t I didn’t actually even know who Phish was until, I guess, maybe I went to I went to a pre college program, and there was, like, there was a one of my friends, he was very into Phish. And so I went to see them with my friends and, like, a bunch of my other but I didn’t you know, I just was like, oh, cool. Didn’t necessarily get it.

Bekah Zietz Flynn [00:08:12]:

And then when I went to Vert You

Scott Cowan [00:08:13]:

didn’t get it?

Bekah Zietz Flynn [00:08:13]:

I was like Okay. Oh, okay. I gotta learn about jam bands very quick, or I won’t have any friends. So I kind of, like, you know, I kind of, like, bought I really I went I moved when I went to when I moved to school when I went to or moved to Burlington, I went to their local record store and kind of bought some CDs because I was like, I don’t know anything about these bands. And, you know, I listen to them. They’re good to, like I don’t I mean, I don’t know if it’s appropriate to say this, but Smoke We Two. You know what I mean? I get it. But, like, it wasn’t necessarily my

Scott Cowan [00:08:47]:

Yeah.

Bekah Zietz Flynn [00:08:47]:

Personal jam. And so

Scott Cowan [00:08:51]:

Oh, that was perfect.

Bekah Zietz Flynn [00:08:52]:

Yeah.

Scott Cowan [00:08:52]:

So back back in the let me interrupt you and go well, so back in college, what was your personal what what what did you like back in college, basically?

Bekah Zietz Flynn [00:08:59]:

So I went to I went to to UVM for theater. I’m a I’m a theater. I was a theater major with a film and English minor. So I joked that I was, like, unemployable because I just was involved in all of the arts. You know? That I was like, oh, I’m never gonna get a job Right. In any of the arts, but I’m just gonna do all of this. But I so, like, I listened you know, I mean, I think I came from, like, a musical theater background. So I, like you know, I mean, in my heart of hearts, I still very much have a soft spot for musicals.

Bekah Zietz Flynn [00:09:32]:

But I you know, my friends and my you know, I actually had a teacher who’s, like, very into indie rock when I was in high school, and he, like, introduced me to bands like Sonic Youth and Pavement. And, I mean, honestly, probably all the bands in sub pop too, like Mudhoney. Like, he just was a very he just, like, loved music, and he was kind of a big point of entry. But then my one of my best friends in middle school, her older sister, she was in high school when we were in middle school. So they were they were, like, maybe five or six years apart, and she intro I mean, she really is one of the people that I credit the most for, like, introducing me to, like, punk rock. So, like, she was kind of my point of entry into, like, X-ray Specs who are very important and band to me and, you know, artists like PJ Harvey and, you know, Sex Pistols and stuff like that. That that is kind of what’s my point of entry into, like, punk rock. And so, you know, I think I kinda came from more of an indie rock, punk rock kind of backgrounds.

Bekah Zietz Flynn [00:10:43]:

And, you know, at UVM, when I went there, like I said, I, you know, I kind of I went my major was theater, and I was kind of I was pretty involved in the theater department until I really got involved in the radio station. And that kind of took over

Scott Cowan [00:10:58]:

and and

Bekah Zietz Flynn [00:10:59]:

really helped navigate I mean, and really was it was how I got to where I am now is is my is by doing college radio. So I ended up becoming the music director of my radio station. And, you know, when I graduated or was getting ready to graduate from college, I had a friend that actually her mom worked for an advertising agency, and she said you know, she was like, oh, I think I can get you a job in New York. And I had you know, my I grew up in Philly. My whole family is basically from New York. I love New York, and I really thought that that was where I was gonna live when I was done school. And then I lived there for, like, a semester and went to NYU and took a bunch of classes and and what have you. And I kind of realized that I didn’t want to, like, live in a closet with 12 other people and, like, not get you know, I just didn’t wanna I I wasn’t ready to have that experience.

Bekah Zietz Flynn [00:11:55]:

And, you know, I really I think, to me, I always joke that I mean, the Northwest does remind me. The Pacific Northwest does remind me a lot of, like, Vermont. Just like I think the incorporation of, like, especially I mean, Burlington, I always joke that Seattle is, like, the city version of Burlington where it’s like, you know, the the obviously surrounded by, like, nature and the outdoors, but it’s it’s urban. And so that’s kind of what I wanted. And I knew the radio promoter at Sub Pop at the time. Her name is Susan Bush, and she has since since left the company and and gone on to do many work at other companies and crush crush it. But, I just you know, I kind of realized that I would rather move to the Northwest and and intern at a at a record label without, you know and find and just find a a job at a record store or coffee shop or whatever, which is kind of what I did. And then rather than that then, like, slogging away at the grinding grinding away at the hustle of New York City.

Bekah Zietz Flynn [00:13:08]:

So that’s kind of why, I moved to Seattle after I graduated, and I’ve lived here now, I guess, in August will be eighteen years. So that was kind of my point of entry into Washington state and why I chose to move here. But, also, you know, I think I’m I was very lucky because I think, you know, I interned at Subpaw for maybe, like, three months. And, you know, during that time, I was working at, the old Easy Street Records location and then also working at Chop Suey in, like, the office there and kinda just, like, haven’t haven’t I you know, I probably had another job that I can’t remember right now, all at the same time. But, you know, I kinda turned my internship at Zephop kinda turned into a part time job, in the radio department. And so that was kind of how I got, associated and connected to to working at sub pop part time. And then at that time, they weren’t ready to kind of expand their radio department. And so I I guess I did that for, like, a year, and they kinda realized that they weren’t ready to expand their radio department.

Bekah Zietz Flynn [00:14:17]:

So I went to work in another record label called Suicide Squeeze. And so I worked there as the label manager for Okay. Four and a half years. And then, unfortunately, due to some budgetary constraints, I I got let go and got reconnected and to SubPop. And now in February, February first, I will have been there for twelve years again. So my journey, I kind of have gone full circle and returned and, you know, I’m obviously very lucky and and excited and to be to be a part of Sub Pop. And it’s, you know, it’s obviously an iconic label and, you know, I think you know, and I love I I love living in the Northwest Pacific Northwest.

Scott Cowan [00:15:06]:

So what’s your day to day like for your job? I mean, this is awkward question to ask nowadays because I think you’re I’m gonna guess you’re we’re working from home, so you’re not going into an office. So everyone’s day to day is a little weird sometimes. Like, oh, yeah. I did this, and then I put some laundry in. But what’s what’s your day to day job duties for Sub Pop?

Bekah Zietz Flynn [00:15:24]:

Yeah. I mean, I think, you know, my I think when people think about working at a record label, they always look at it like a Judd Apatow movie where people, you know or or a movie where people, you know, like, romanticize, like, people just partying all day long or something in their office.

Scott Cowan [00:15:41]:

Right.

Bekah Zietz Flynn [00:15:42]:

Especially, like, maybe in the golden ages of, like, the seventies or something. You know? I mean, we definitely are fun people. But, honestly, at this point, even when we were working at the office, it’s it’s you know, it’s not as glamorous as I think it sometimes sounds, but it’s amazing job. But, you know, I think a lot of it is, like, you know, checking emails and and kinda especially because I work within three different departments, it’s kinda just jumping around from different responsibilities. So my, you know, my main job is doing publicity for the record label. And so, you know, I help secure national and regional coverage for our artists, you know, ranging from places like Rolling Stone or Pitchfork or Stereogum to, like, you know, maybe smaller blogs or even just regional out like, outlets like The Stranger, you know, different

Scott Cowan [00:16:36]:

Okay.

Bekah Zietz Flynn [00:16:37]:

Different regional publications. So I think I mean, it’s not

Scott Cowan [00:16:42]:

You missed the glory days. Yeah.

Bekah Zietz Flynn [00:16:44]:

I know. I don’t know. I mean

Scott Cowan [00:16:46]:

You missed the glory days of the oh, the rocket. The rocket magazine in Seattle was, like, iconic. Did, you know, just it

Bekah Zietz Flynn [00:16:54]:

was I had a friend well, I had a I interned at a a magazine when I was living in New York, and one of the editors for the magazine used to work at the Rocket. So she would tell me stories, which I think also kind of influenced my decision to move to Seattle.

Scott Cowan [00:17:12]:

Okay. Yeah. I and it just yeah. The Rocket was just before technology. Right? Before before you could, you know, look look at Wikipedia or go to go to a band’s web page and see that they’re playing its you know, here’s their well, back when you could see bands play. But, you know, you could see that they’re playing at x, y, and z, you know, on the the next three weekends. And and The Rocket was like I mean, we we we devoured it trying to figure out, okay, who’s playing where, you know, and and going through it and then reading an article about, you know, some some local band that we, you know, we knew one or two of the players in the band type thing, and it was always fun to see somebody, Hey, I know them, and they’re on the cover of the Rocket. Maybe, you know, it was just kind of it was kind of fun, and I’ve always had this romanticized idea that the music business is let’s just say I have a romanticized version of the music business, and I know it’s not accurate.

Scott Cowan [00:18:09]:

I know it’s, you know, it’s business. It’s you’re like you said, you’re checking emails. You’re doing things. But how has publicity in in the years that you’ve been doing this now, how has publicity changed? Like, you know, with the proliferation of social media and, you know, all all Instagram, and how does Sub Pop’s role in exposing artists to the public changed?

Bekah Zietz Flynn [00:18:36]:

I mean, I think that it’s, you know, I I think that it’s it’s one of those things that Sub Pop is, you know, I think that we had to be like this, and we’ve always had to be like this. But especially now throughout the pandemic, we’ve really had to pivot and adapt. And I think that that is one of the the, you know, most special things, especially about the indie music community, is that we really are able to pivot and and change, you know, maybe sometimes in some cases slower than than we should be. But I think as a collective, we really have been able to pivot and change pretty pretty drastically throughout the pandemic. I mean, I think that in our marketing, just, you know, just our marketing strategy in general, I think, you know, everything would kinda lead up to when we released a record and then a band would tour on that record. And then, you know, you know, you would be able to kinda build these, like, phases, continue it, you know, continue it continual phases into a a band’s campaign based upon touring. And, you know, especially right now, I think, you know, bands are if they do tour, you’re you’re it’s amazing that it’s even happening right now. You know, I think and so we’ve kind of learned that it doesn’t necessarily you know, people are still one of the the most awesome things I think about music, right, is I think it really does help you know, I don’t wanna be cliche to be like music saves, but I you know, I think that, like, I know for my own purposes, you know, that it’s if you put on a record, it can change your mood in a second.

Bekah Zietz Flynn [00:20:12]:

And I think that, you know, through the pandemic, maybe, you know, because people weren’t, you know, are switching how they’re spending their money. I you know, I think that we’ve been lucky to see a consistent support and not really a decline. People are still engaging with our music and buying music. And even if, you know, the mail has been slower to, like, deliver packages or whatever, people people are, like, okay with it. You know? They’re not they’re really understanding and and supportive still in in regards to supporting music. And I think, you know, I think now that the world’s you know, I think now that we know that COVID is kind of going to continue to, like, mutate and change, but it’s kind of I think now we’re all in this place where we’re realizing it’s kinda here to stay. You know, I think people are realizing that, like, okay. We’re just gonna keep getting boosted and probably figure out new ways to make sure that people are touring safely so that they can make sure that they’re performing and and going and playing live music.

Bekah Zietz Flynn [00:21:19]:

And I think that now we’re kind of figuring how to incorporate that back into our marketing strategy. But, you know, we’ve been able to, for the last two years, you know, really kinda figure out ways to keep doing what we do. And I you know, but that’s how it has always been. I mean, if you look to fifteen years ago or something, you know, in the beginning of when not even, like, streaming services, but digital music or, you know, however long ago it was, maybe eighteen years ago, you know, that was a pivot. That was a big, change for the the music industry in itself. Like, just being able to download songs, you know, really you know, everyone’s like, this is going to ruin music. And, you know, I think that we’re you you kinda just, like, learn these technologies and kind of grow. And I, you know, I think that as a company, you know, in the in the publicity department, I think, really, the biggest change is is that and this has been happening even before COVID.

Bekah Zietz Flynn [00:22:24]:

It’s just the decline of, like, everything like you said, it’s kind of been shifting to social media. So, you know, publications have had to learn to adapt in in a way probably more so than any anyone because a lot of their money a lot of their money and support comes from advertising. And that now more people advertise online through, like, platforms like TikTok, Instagram, Facebook, YouTube, you know, than they do with a with a print publication even or digital publication. So, you know, I think that a lot of of that has kinda shifted and, you know, a lot of publications. I mean, I was just doing tour press for an artist yesterday, and I was like, oh, man. I didn’t realize that this weekly in Indianapolis is has gone away. Like, you know, this is probably the eighth or ninth weekly that has, like, folded and since COVID. And that’s you know, I think that that’s a lot to do with COVID and and the fact that, like, these outlets generate their income through advertising and a lot of it is through shows.

Bekah Zietz Flynn [00:23:35]:

So if shows aren’t happening I mean, it’s all just kind of like a domino effect. But, you know, I think you can kinda see it in a grander scale. But to go into the minutia, you have to pick, like, you know, specific examples. So like I said, like, I think for us, the biggest thing is just publications going away, but also publications starting. Like, I think a lot of people are starting to write blogs again, which is kind of like that was like a fad that kind of happened in the early two thousands and then kinda faded away. And now I think it’s kind of I’ve I’ve been finding a lot of newer, smaller websites of just people who are just music fans and kinda just wanting to write about music that they love. And, you know, I love that because I think that it’s, you know, it’s super important to, you know, it’s, a, it’s super important just to support. Like, I don’t I work with any size publication.

Bekah Zietz Flynn [00:24:31]:

To me, I’m like, if you wanna write about our bands, like

Scott Cowan [00:24:33]:

Mhmm.

Bekah Zietz Flynn [00:24:34]:

Let’s do it. So yeah. So it’s not it’s not, like, just for us, it’s like it’s not like, oh, you’re just at this. I’m only gonna deal with the New York Times or Pitchfork. You know? It’s like, for me, it’s like if you’re if you are excited about the stuff we’re putting out, like, I am excited to talk to you about it.

Scott Cowan [00:24:52]:

Well, that’s see, and I think, you know, like I told you when I e we emailed and you wrote back, I was I was kinda surprised, especially about how quickly it was because we do a lot of guest outreach, and typically, it’s the third time I knock on the door via email that somebody will respond. The first two don’t seem to go through or something. And so I was really quite surprised that you responded so quickly and have been so so gracious. And so that for that, I appreciate that and kudos. But I think that I I agree with you. I think people are, you know, they’re they got a little bit more free time. They probably have streamed everything on Netflix, and they don’t know what to watch anymore. And now they’re going back to music and going, oh, I really miss listening to, let’s just say, Phish, just because, you know, it’s a jam band.

Scott Cowan [00:25:43]:

And you’re going through and you’re listening to that that live that live Phish show from the Gorge in 1999. Oh, I remember I was there blah blah blah because it does invoke, you know, music invokes memories, It invokes emotion, and we there’s people out there that like to share those with with other people of like mind. So I do think blogging is kinda making a comeback as well.

Bekah Zietz Flynn [00:26:06]:

Yeah. And I yeah.

Scott Cowan [00:26:08]:

Let me ask you. Even those okay. Go ahead. Go ahead. We’re we’re having a choppy connection today, so I apologize. No.

Bekah Zietz Flynn [00:26:14]:

I was just gonna say that that’s you know, I think that that is really important that just that connection. And I think, you know, especially for people who, you know, maybe are quarantined or, you know, are kind of maybe hunkering down closer to home with people that, you know, I especially with their kids. Right? Like, I think the people who, you know, I I think we have more time to kind of engage in a way that we haven’t been able to engage. And not that I would want a pandemic, a global pandemic for on anyone. You know? I wouldn’t wish this on on the worlds, but, you know, I think it is I think that, you know, I’ve been trying to think about the positives from this. And, you know, I you know, I think I I shared this with you before, but my you know, I I definitely did not realize I realized I was gonna be having a pandemic baby. But, you know, my daughter was born in the at the January in 2020. And so I think right now has been really fun because she really loves music.

Bekah Zietz Flynn [00:27:17]:

And, you know, she went through a period of a phase where she would only listen to Wheels on the Bus, but, like, you know, and and I’m here for it. I get it. You gotta listen to kids’ music. But, like, you know, now she’s been listening to just we’ve been playing her different music at our house, and, like, it’s just fun to watch her kinda just feel the beat and kinda you know, she’s she’s still so young. I mean, she’s only two that it’s still you know, this is not maybe she’ll remember this and maybe she won’t, but I think that as years go on, you know, she’ll be able to to say, oh, yeah. I have, you know, all of this these musical experiences or memories, and I think that that’s super meaningful because, you know, we are spending a lot of time I mean, we do we we go out when it’s not raining, but we spend a lot of time at home because she’s not vaccinated and we’re trying to, like it’s probably inevitable that we’re all gonna get COVID, but I just am trying

Scott Cowan [00:28:12]:

to avoid it

Bekah Zietz Flynn [00:28:14]:

if I can. Not go one.

Scott Cowan [00:28:17]:

Absolutely. Now I’m chuckling because, you know, you’re you’re you just said you’re exposing your daughter to lots of music and whether she remembers it. But subconsciously, when she’s 18, she’s like, why am I drawn to this? This is old. Why do I like this? You know, because, like, my kids both of my kids, I probably played The Clash way too often around them because they both like The Clash, and they’re not of the age group that would necessarily get that right off the bat, but they both do. So I think it’s kind of you can impact your child’s musical tastes in interesting ways. So that’s I think that’s kind of cool. Does from a promotional standpoint, is there much different in the way you promote a band in The United States as you would outside of The States?

Bekah Zietz Flynn [00:29:13]:

I mean, not really. When we create a marketing plan, it’s mostly from a global level. So, like, we you know, I think one of the things that you kind of have talked about is, like, we’ve had to pivot and kind of reestablish how I mean, we really do cater all of our releases specifically to an artist campaign. It’s not I mean, there are there’s things that we do for every artist, but, you know, we try it’s not every campaign is not the same. You know? I mean and and, unfortunately, you know, it’s always our goal to introduce our artists to a larger, you know, to a larger audience. But, you know, there is just sometimes the serendipitous things that happen for an artist. Right? Like, we like I said, like, we usually typically send out three to four songs before that you know, before an album is launched. In some in some cases, we do pre album pre album tracks.

Bekah Zietz Flynn [00:30:10]:

So a a track will be on the album, but we don’t announce the album. We share a new song.

Scott Cowan [00:30:15]:

Mhmm.

Bekah Zietz Flynn [00:30:16]:

And that kinda goes into all the DSPs, so, like, into Spotify and Amazon and Apple and all all the other ones as well. And then, you know, I think and then, you know, once we announce the record, then, you know, we kind of send out, you know, different all those different tracks throughout the rest of the campaign until the record comes out. And there’s usually videos associated with that. But like I said, sometimes there’s just a serendipitous thing that, like, connects with a a larger audience that, you know, I think I I I think a lot of it has to do because our marketing team is awesome, but it just also has to do with just the the way the music connects with people. And so, you know, yeah, I wish that all of our artists blew up like Nirvana or you know? But I think that there’s that’s just sometimes it’s just a time and a place for people.

Scott Cowan [00:31:12]:

Right. How many people approx I’m gonna ask you, like, how many people are on the marketing team? And then I’ll throw in approximately, not to put you on the spot and go, oh, it’s you know? But how big a team do do you think about that?

Bekah Zietz Flynn [00:31:23]:

Marketing team is around 20, and that includes, like, press and radio and film and TV licensing and retail and social marketing and and and all of that stuff. But I think that comp the company itself, I think that there might be around 65 to 70 people. I I haven’t it’s been a second since I counted, but that’s also you know, we also have, two physical locations. One is located at Sea Tac Airport. So we have an airport store, and then we also have a physical location that’s kind of, on Amazon’s campus. That is on Seventh Avenue in Downtown Seattle. So that includes I think that people that work at people that work at the airport store also work at that physical location too. So I think that that’s how many people we have at Sub Pop, but I haven’t counted our list in a second.

Scott Cowan [00:32:21]:

Okay. Well, let’s talk about the the the store. Do you do you know much about the how the airport store came to be? Just out of I I don’t know expect that you would necessarily, but just out of curiosity, do you know how the airport store came to be?

Bekah Zietz Flynn [00:32:36]:

You know what? I don’t. I mean, I I don’t know the the actual history of, like, you know, and how how those conversations kinda got started. I know that, you know, the the Port Of Seattle has always been really involved in the music community, and I think, you know, we, I mean, you could hear it. Anyone who’s flown in and out of SeaTac knows that there’s always music played. You can hear Mark Arm from Mudhoney or many Mhmm. Many musicians, on and off sub pop kinda doing those, those overhead announcements. Yeah. Those PFA’s.

Bekah Zietz Flynn [00:33:12]:

You got it. You got all of them. Yeah. And I think that those it kind of sprung from that. I think our CEO, Megan Jasper, kind of, it was through a relationship through with the port, and and wanting the and SeaTac kind of wanting to expand and to and bring in more local vendors that I think that that kind of, is was our our point of entry. But I

Scott Cowan [00:33:38]:

you

Bekah Zietz Flynn [00:33:39]:

know, Megan and the the rest of the sub prop brass would know better of of all the minutia than I would.

Scott Cowan [00:33:48]:

I I just remember my first time walking through the airport, and I was going somewhere. And I I saw this I mean, what? And I, like, went into the store, and I’m like, why is there a record store at the airport? Oh, wait. This is kinda cool. And it was it was I always just thought it was really interesting place to put a record store, but it is so iconic to Seattle that it makes perfect sense when you think about it. But my knee jerk reaction, but it made me stop and go in, which I think is the goal, is to get people to stop, go in, and, find something there to buy and listen to and learn. And, I thought it was pretty cool. I I haven’t flown in a while, so I haven’t seen it in a while. So maybe it’s changed.

Scott Cowan [00:34:37]:

Maybe you’ve changed your mind.

Bekah Zietz Flynn [00:34:37]:

I know we did we did do a little bit of a of a makeover, pre pandemic, and and I actually have not I have not flown since September 2019, which is weird because I used to fly all the time. But it is pretty awesome. And, you know, I think what’s really cool is that it you know, I subpop I’m I’m more lucky because subpop is not only just a record label, but it’s a brand. I think it’s a name, especially in music, that people kind of recognize. So, you know, I think that I think that that was a really it’s been and it’s like you said, it’s really important to the history of music in the Pacific Northwest, but especially in Seattle. So I think, you know, that has been really awesome to connect with just, like, a a bigger audience and and being able to, like I mean, one of the things that I do miss from working at a record store, like, you know, a lot of times I would go sell merch with our bands on the road or when they’re in Seattle is that it’s just, like, you you kind of

Scott Cowan [00:35:39]:

Okay.

Bekah Zietz Flynn [00:35:39]:

Are doing so much behind the scenes that you forget. It it it just, like, it it just hits you in a different way when you see people engage with the brand or the, you know, the brand itself, but also the music. And you forget, like, woah. Like, there’s people buying even though I know consciously that there are people buying the music that we’re promoting, I it’s when you get to connect with it on a on a firsthand basis, it definitely is more meaningful and you realize, like, well, this is what I do. And it’s it makes to be honest with you, it makes me appreciate my job a little bit more.

Scott Cowan [00:36:13]:

Alright. So now I’m gonna ask you some these are personal opinion questions. Okay? So there’s no wrong answer. K. K? In your opinion, right now, who is somebody at subpop on on the label that people should be listening to that they might not be listening to?

Bekah Zietz Flynn [00:36:34]:

That’s a that’s a good one. I mean, there’s a lot of artists that probably people are unfortunately not listening to and they should be listening to. So check out our Spotify playlist then. I mean, maybe for selfish reasons because I signed this band to the label. We work with this this I don’t wanna call them postponed because they’ll be mad at me for saying that, but but in all intents and purposes, probably that’s the best descriptor of them. But this British band called TV Priest, and they’re Okay. They’re just awesome. And I think that they, you know, they re we released their their debut record last year, and they’re currently working on some new tunes.

Bekah Zietz Flynn [00:37:19]:

So, hopefully, we’ll have more more to share for this year. And, yeah, I mean, that band, I think, is awesome. I also really there’s this there’s this, folk singer. Once again, I sometimes don’t like describing like, I I guess don’t like describing because it sounds very generic, but there’s this, woman named Shannon Lay. And her record that came out last year is honestly one of my favorite records. Probably was one of my favorite records that we put out last year, and she it that record is really special, and I feel like I I would I would love for more ears to be on listening to her because I think that she’s a really amazing singer and songwriter, but also just, like, an amazing person. Like, she’s just one of those people that when you’re around her, you the world just gets a little bit better. But, honestly, like, I really feel very lucky to work at a label where, I mean, all of our bands are awesome.

Bekah Zietz Flynn [00:38:21]:

And, you know, I think that’s, you know, maybe that’s a difference of between not to not to diss any major labels, but, like, that’s one of the differences between working at a major label and working at a indie label is that I feel especially being a part of the a and r staff, so I kind of have a hand of, like Mhmm. Being, you know, not only pitching artists that I would like to bring in to the label and work with, but also to get, you know, put my my feedback of artists that my coworkers are pitching and wanting to work with as well. So I just feel really lucky that we work with a roster of artists that are very I mean, musically, they’re awesome, but also just very like minded, rad people. So I’m probably a little biased, obviously. But I definitely think a point awesome point of entry is to listen to our Spotify, playlist that we do.

Scott Cowan [00:39:18]:

Okay. Can you walk us through you said you signed a band. Yeah. That can you walk us through the process of that? Like, how did you they’re British, so you didn’t go down to the pub in London and see them play and go, oh, these this band is awesome. I wanna I wanna sign them. So how did this process in, you know, high level, how does the process work from finding a band to vetting them, if you will, signing them, and then releasing something?

Bekah Zietz Flynn [00:39:50]:

I mean, the you know, at every label, the a and r process is pretty different. But at Sub Pop, it’s a committee of around 10 of us ranging from, you know, the owner, you know, cofounder and and co co president of label Jonathan Poneman, our CEO Megan Jasper, co president Tony Tony Keywell and a bunch of other people that do different things. So there’s people who do radio and then also do retail and then publicity and international marketing like myself. And we meet in production, and we meet once a week and we kinda share music that we’re into. And so it’s a it can sometimes be a very slow process and also frustrating process because you can be very into a band and people not are not into it. But, I mean, yeah, I mean, I’ve I’ve been very lucky. I guess I’ve been on

Scott Cowan [00:40:45]:

the

Bekah Zietz Flynn [00:40:45]:

A and R staff now for maybe eight years. And I’ve, you know, I’ve been able to work with and sign, you know, a number of artists that you know, I think one of the the most meaningful things and and exciting things is when you get to sign an artist and you kind of watch them go through that process of blowing up and and, you know, go from that process of selling, like, 5,000 copies of a record to almost a hundred thousand copies of a record or more. And I think that you know, I feel very lucky to be able to, you know, be able to project manage those projects. So I think, you know, the way that you get pitched I mean, people send in demos all the time, and I, you know, I’ve admitted this another interview, so I’ll admit it here. But I I have a few I have this, belief that someone finds my email and takes the time to actually, like, address me in an email, like, hey, Bekah. Here’s my new record. I always listen to it. If someone’s just sending a a generic form letter

Scott Cowan [00:41:44]:

Okay.

Bekah Zietz Flynn [00:41:44]:

And don’t address me, sometimes I might not be able to listen to it. But, you know, I think if someone takes the time to actually, like, explain who they are, the music that they make, and what have you, it you know, I think that that is super meaningful and and important. And so, you know, for me, I, you know, I find out about new bands from all different places, you know, from a lot of places from, like, Stereogum, you know, from just outlets, Stereogum Pitchfork, Bandcamp, just listening to a ton of stuff on Bandcamp or Spotify to, you know, getting pitched an artist an artist directly from the band or from their manager or lawyer or, you know, just being a fan of a band Mhmm. And just kind of, like, wanting to work with them. And so the way that I came to to sign TVPriest was that my coworker in in The UK, he actually credits his wife. So I’m gonna credit his wife. His wife, was listening to the BBC, and she sent it to you know, she shared it with her husband. And then her husband, you know, kinda shared it with a few of us in the Antarctic department, and, you know, we just kind of immediately, like, fell in love with it.

Bekah Zietz Flynn [00:42:59]:

And so, you know, we kind of connected with their managers, and it just kind of was went from there. So, you know, I think every point of entry for an artist is kinda different, but that’s kind of how TV priests were signed to the label.

Scott Cowan [00:43:16]:

Okay. You you said that if somebody finds your email address and they take the time to personalize the communication with you, you’ll listen to what they they send you. Yeah. Has there been any really creative because then you said you also said sometimes they send you a form letter, and and those you might listen to. You might not. You know? Has there been any, like, over the top creative ways that a band or their management has done outreach that you’ve seen?

Bekah Zietz Flynn [00:43:54]:

I mean, not by email. I think that back in the day, people used to send, you know, like Okay. Booze or, like, I one time we got a package of, like, candy and, like, little, like, street I mean, you know, people used to send that, and we kind of have changed our submission process since then. So, if you’re listening and looking to submit, go to our go to stephop.com because all that information is there. But, you know, I mean, you would be surprised how many times people just kinda cut and paste an email and, you know, and don’t really take the time to to look over what they’re sending. You know? And I kinda

Scott Cowan [00:44:36]:

See, and I think yeah. I I think if if I were a musician and I was a creative, I I can’t imagine being creative, you know, working working on my music, improving my craft, if you will, to the point where I wanna submit it to see if if a label would be interested. And then just sending, you know, dear Subpop, dear dear Warner, dear, you know, you know, and just crossing out, you know, subpop and placing another label and just the same text over and over again. I wouldn’t think that that would catch anybody’s eye. So I can’t imagine that yeah. I don’t I would do it differently. I I would I don’t know what I would do, but I I think I’d try to be a little bit more engaging and at least spark, let’s say, you’re the one reading it, sparked your curiosity to at least listen Yeah. To see what’s there, to see if there’s something

Bekah Zietz Flynn [00:45:34]:

Yeah. I mean, I think that it is it does I think it is important to try to set yourself apart, but, also, I think it’s important to, you know, I always tell bands or anyone you know, sometimes people will just reach out and ask me, like, hey. How do I get signed to a label? And I always say that it’s important to start local. I think you can’t just be a band and then, like, sometimes maybe I mean, now, especially because everything has changed, they’re like, touring is not as import you know, it’s I mean, touring is very important and playing shows is too, but there’s different ways to build an audience like you’ve been like we’ve been saying. Right? Like, building social numbers and and what have you, a present social presence. And so I think that everything has kinda changed and pivoted and moved around, but I think, you know, I think you gotta show initiative. You can’t just make a a music and just be like, hey. I’m gonna put this out in the world and get signed to a label.

Bekah Zietz Flynn [00:46:28]:

And I think sometimes maybe that happens if the music is special enough and and kind of stands out. But I also think that, like, building a an online presence, building a building a fan base, it is super important. And to me, I always say, like, especially for local artists, like, taking advantage of, you know, the resources that we have, not only in just Seattle, but in Washington state. I think that, like, you know, making sure that you are servicing the different weeklies or, you know I mean, especially because KXP is based here, like, making sure you’re sending KXP your record and trying to get played on the radio and trying to, like, you know, when it’s when it when you feel comfortable or safe to play a show, trying to engage with the local venues and, you know, making sure that you’re sending your record to not only just, you know, the stranger, but, like, to and Seattle Times, but making sure that you’re servicing the local regional, like, blogs and stuff like that. I think trying to build something on your own, you know, and showing an initiative that you’re you’re serious about this project and and wanting this to be a thing, I think that that does say a lot. And, you know, subpop and other record labels are looking and following, especially what is going on locally. So, you know, I think that, you know, it’s a team thing. Right? Like, it’s not a band doesn’t just, like, get signed to a label.

Bekah Zietz Flynn [00:47:59]:

It’s like a you know, we’re we’re in agreement that we’re working together to enhance their art. It’s how I always look at what my job is.

Scott Cowan [00:48:09]:

Right. Your your your teammates. It’s a relationship. Your your your label’s not successful without good artists, and the artists aren’t gonna get as the promotional and awareness created without a good label that’s got got their back. I think it’s it’s there’s gotta be the synergy between between both. One question I always ask guests that are like musicians, so I’m gonna ask you because you’re you’re a music lover. So gonna rewind back pre COVID, you know, go back to happier days. Where in the Seattle area did you like to see music be performed?

Bekah Zietz Flynn [00:48:50]:

Man, I mean, I would you know, I think that there’s something special about all of the venues that we have in Seattle, but I think, you know, I really enjoyed. And I and and they have since they’ve since made it over, and, actually, I don’t think that they’ve opened yet. But the sunset, I really enjoyed watching shows there. And then, also, I guess I guess, Numos, is also an amazing venue that I really enjoyed seeing shows at. I like the bigger venues that we have, but I think, you know, I think that it’s maybe the smaller ones or ones that I find, especially if depending on what the show is that I found. It’s like I’ve had some of the most, you know, meaningful, like probably in New West, to be honest with you. I’ve I’ve left feeling the most inspired after seeing shows.

Scott Cowan [00:49:40]:

Okay. My my mine in Seattle that I’ve always not always. Well, yeah. The tractor tavern. I’ve always liked the tractor. I don’t know why. Logistically, it’s not the best room. I you know, it’s it’s not.

Scott Cowan [00:49:57]:

But there’s something about the Tractor Tavern, that I’ve always enjoyed. Now back in the day, back in the eighties, you know, Seattle had some really great rooms that are no longer no longer in existence, but, like, Astor Park and in in the Hall Of Fame and places like that were just amazing. That was way before your time, so, you know, don’t even yeah. But we that was Seattle was fun in the early eighties. It was, the saddle music scene in the early eighties was really interesting.

Bekah Zietz Flynn [00:50:23]:

Yeah. I mean, I wish that I I did get to see that. And I do miss the old crocodile, and I’m excited to see what this new crack looks like. I have yet to venture out and see it, but, I don’t know. I mean, the the sight lines in that room were really bad in the first, you know, in the first crocodile, but I think, you know, it just you felt it was just an I mean, that was probably the first place that I saw that was one of the first places that I saw a show, and and it was a destination location. I felt like you you felt like you were a part of history. And I think, you know, it was kind of like with the first time I went to CBGB’s where I was like, woah. A part of, like you know, I I remember seeing a very weird show at CBGB’s, but I still felt like, woah.

Bekah Zietz Flynn [00:51:11]:

This is like I’m a part of, like, history. Although I will never go into the you know, that bathroom was disgusting.

Scott Cowan [00:51:19]:

How how

Bekah Zietz Flynn [00:51:21]:

But that was probably a part of history too.

Scott Cowan [00:51:23]:

Okay. So part of history. Yeah. Probably. Okay. So we’re all Washington state based, but I’m gonna just break my rule here. You gotta you gotta I’ve the CBGB. Come on.

Scott Cowan [00:51:34]:

Tell me more. I’ve never been there. And some of my favorite bands back in the day, you know, played there a lot, and I’ve always just had it on this historical pedestal like it was, like

Bekah Zietz Flynn [00:51:50]:

I mean, it basically reminded me a lot of Please tell me what.

Scott Cowan [00:51:53]:

How was it?

Bekah Zietz Flynn [00:51:54]:

Of the old crocodile, except with the weird what was that weird I mean, what was it in the crocodile? It was like a weird, like, snake thing? I don’t I’d remember that there was just a weird thing that was hanging from the top that was, like, there and there was a beam that was, like, in a sight line that you couldn’t really see. But, I mean, it was just a black, dingy room that, like, just felt I mean, it smelled beyond beer and pee and, you know, I mean, it just smelled gross and, like but you felt like, man, this is where all of these, you know, the remote I mean, just like, this is where all these bands started.

Scott Cowan [00:52:38]:

A lot of, you know, really large musical acts from the late seventies and eighties got they played there. I mean, it was it was an iconic room to to to to aspire to. And I think in Seattle, The Crocodile is one of those equivalents. You know, the Seattle’s version is, you know, the crocodile, is one of and I haven’t been to the you know, I haven’t gone and seen the new one. I’m curious what it looks like. I’m just

Bekah Zietz Flynn [00:53:05]:

looking for I mean, I’ve seen pictures, and it looks awesome. I just I was invited invited to go see it, and I just haven’t felt felt safe enough to kind of leave my my dwelling.

Scott Cowan [00:53:19]:

Okay. Yeah. Your dwelling. Are you, my other question for all my guests is or a coffee. Are you a coffee fan? And, you know, if not, we have to have another further conversation. But are you a are you a coffee fan?

Bekah Zietz Flynn [00:53:34]:

I gotta tell you, I do sometimes miss going out to get coffee because I still that’s one of the things. I don’t do it very often these days. Alright. But I do love coffee.

Scott Cowan [00:53:45]:

So so the next time I visit Seattle, where should I go for coffee?

Bekah Zietz Flynn [00:53:50]:

I mean, I will tell you that even though this is, well, this is they have a location in West Seattle, but I honestly will tell you that I think that the best coffee in the Pacific Northwest is Olympia coffee. I think what they’re those beans are are Okay. Yeah. Beautiful. And I think that, personally Okay. That’s probably my favorite coffee roaster in in the Northwest, mostly because they’re light they’re light blends, and I’m not I mean, I used I used to live very close to Lighthouse Coffee, and so I love Lighthouse Coffee, but they are they they go dark. They’re dark roasters. Sounds evil, but I like it.

Bekah Zietz Flynn [00:54:30]:

But, yeah, I think that they Olympia Coffee is probably my favorite coffee, and they have, a shop in West Seattle. But, I you know? Mhmm.

Scott Cowan [00:54:42]:

Yeah. One of them. Yep.

Bekah Zietz Flynn [00:54:43]:

And they also, closer to where I live, they have, Olympia coffee is sold at Burien Press. So that’s kind of where I go to get Olympia coffee these days. Okay.

Scott Cowan [00:54:58]:

I will give you credit. In all the times that I’ve asked that question, you are the first person to bring up Olympia Coffee.

Bekah Zietz Flynn [00:55:06]:

I mean, I will tell you that that people need to get

Scott Cowan [00:55:08]:

in there. It’s a it’s a well known established

Bekah Zietz Flynn [00:55:11]:

Yeah. I think that they’re the best. I think that they got Yeah.

Scott Cowan [00:55:14]:

I used to, I used to work in Olympia. I think

Bekah Zietz Flynn [00:55:16]:

that they got nominated for the best roast like, one of the best roasters in the Northwest A Few Years ago. Like, they’re I’m a little disappointed being your guests, I guess.

Scott Cowan [00:55:25]:

Yeah. No. They’ve well, I’ll I’ll see. I like darker roast coffee, so their their roasting profile doesn’t fit my palate. I appreciate the craft that they’re doing. I think they’re an an outstandingly, well run company. Great coffee. Great representative for coffee.

Scott Cowan [00:55:45]:

Kinda like you didn’t get jam bands. Right? You can kind of like, oh, yeah. I see their point, but not for me. That’s kinda way I am with their coffee. I tend to like the the, darker roasts. That’s kinda my thing. But, they’re a cool company. Their their their location in Olympia was a lot of fun to go to.

Scott Cowan [00:56:06]:

It wasn’t too far from from my office. So I’d go in there, and their big truck, blend was something I would drink and be Oh, yeah.

Bekah Zietz Flynn [00:56:13]:

That one is a good one. I like little buddy.

Scott Cowan [00:56:18]:

Yeah. Okay. Okay. And then, so I let’s let’s wrap this up because we gotta respect your time. For you, what do you think we’ll see from subpop in the near future? I mean, is what what do you think, you know, here’s your crystal ball, you know, forecast the music world. What do you think we’re gonna start to see? Is there any any changes coming that you are seeing over on the horizon or anything like that?

Bekah Zietz Flynn [00:56:49]:

I mean, I think it’s hard to to tell and know how we’re going to, you know, evolve just as an industry, you know, even though I know we will. I think that, obviously, right now, social media like TikTok and Instagram, but especially TikTok is kind of really the the way that they’ve chosen to incorporate music, it really is a big, has has kind of shown a big pivot in in the music industry. I mean, you can kind of like, how people can kinda blow up and become famous on YouTube, it’s kind of the same thing. You can kinda blow up, and and and a song can really kinda take off in a in a way that’s that’s very unique to to to the platform on TikTok. And I think, you know, one of the things, like I said, is that Sub Pop has always kind of been a leader in following those those musical trends. But, you know, I think that one of the things that will always stay consistent is that we will always put out awesome quality music that people, you know, that we believe in and hope other people can kind of engage with. And I think, you know, this year, especially, we have it’s a very, you know, big we have big releases that are coming out this year. And, you know, we’re starting the year off very big with, you know, we you know, in the beginning of the year, we announced a new Father John Misty record.

Bekah Zietz Flynn [00:58:10]:

And next month, on the February 18, we’re releasing a new Beach House record. So, you know, those with more bigger records to be announced throughout the year. So I think, you know, this year is going to be a very busy I mean, it’s always a busy year, but it’s gonna continue to be a very busy year for for Sub Pop and and our artists. And I think, you know, we’ll be, you know, I think it’ll be interesting to see how the, you know, touring world kind of redefines what the what the music industry looks like. Because, honestly, a lot of venues and, you know, a lot of venues unfortunately closed or changed ownership during COVID, and are still re you know, defining themselves. I think, you know, one of the things that I think people probably don’t realize, right, is, like, when you go to a show, of course, a show if a show is sold out, I’m sure, you know, I don’t know the exact bookkeeping. But for working at a at a numerous venues over the years, you know, I can tell you that a lot of the times, the way that the venue makes money is in the same way that, like, a movie theater makes money is through concessions. Right? So a bar, you know, a venue makes money because of a bar.

Bekah Zietz Flynn [00:59:26]:

And so, you know, it’ll be interesting to see how Mhmm. These venues kind of redefine and grow and and kind of, you know, how that affects everything because, you know, maybe people aren’t wearing masks. Maybe people are out there, like, just drinking beer, not wearing mask like they used to. But I can tell you the next time I go to a show whenever that is, I for sure will be wearing a mask and probably not taking it off the whole show. So, you know, I think that that’s whereas, you know, maybe I would get one drink and that you know, during a show, I think that that’s gonna that’s gonna evolve and change, and it will be interesting. You know, to me, what I think is exciting is I always love really, like, DIY spaces. And while, you know, we talked about venues that I love, I think it will be interesting to see, like, you know, the creation and establishment of, like, new smaller DIY spots that kind of pop up. And, you know, to me, those are those are kind of those shows, you know, where there’s maybe 50 or a hundred people, like, crammed into a a room, Those are the shows that I kinda miss the most, but it’s hard for me to think about returning into a in into that environment.

Bekah Zietz Flynn [01:00:46]:

You know?

Scott Cowan [01:00:49]:

Right. No. I I can agree with that. Just we’ll all be wearing, like, you know, hazmat suits or something like that that would kind of change the change the experience. So last question, which is what I’ve been ending my shows with a lot lately because it’s the it’s it’s my it’s my way of cheating. So what didn’t I ask you that I should have asked you?

Bekah Zietz Flynn [01:01:14]:

I don’t know. I think we covered all of our bases. I feel like I feel like I I got to give you probably stumbled, stumbled on some words. So apologies, listeners, for my lack of

Scott Cowan [01:01:27]:

Oh.

Bekah Zietz Flynn [01:01:27]:

Being able to verbalize myself very early in the morning with only I’m gonna be honest. I actually have not finished my coffee yet today, so that’s probably why. But

Scott Cowan [01:01:36]:

Oh my gosh.

Bekah Zietz Flynn [01:01:37]:

You know, I feel like this was

Scott Cowan [01:01:38]:

That explains so much. No. Just kidding.

Bekah Zietz Flynn [01:01:40]:

I mean, I feel like it. You know, listen. I I shared that I have a little one, so I feel like I get an excuse.

Scott Cowan [01:01:47]:

Yes. You do. And anybody that’s listened to the show is not expecting NPR, but it’s certainly not from me. So it’s you’re you’re you’ve been great. This has been fun.

Bekah Zietz Flynn [01:01:59]:

Well, thank you. And

Scott Cowan [01:02:01]:

we’re gonna put some links

Bekah Zietz Flynn [01:02:04]:

No. I was just gonna say thank you thank you for inviting me to be a part of the show and for reaching out. And, you know, obviously, on a personal level, I have a very deep love of Washington State and Seattle Seattle area, but also, you know, obviously, it’s always an honor to be able to talk about the company that I work for and the bands that, you know, I that I work on their behalf. And I definitely think, you know, I think it can become overwhelming when you to to know where to start with with just music. Sometimes, I I even get overwhelmed if I’m looking at Spotify, like, oh my god. Like, I actually did I actually fought streaming services for a long time because I was like, I don’t like having access to that much music at all times. It just kinda stressed me out. Like, you know, and and and I probably have a couple thousand records in my house.

Bekah Zietz Flynn [01:02:58]:

I don’t know. I mean, you know, I do have access to thousands of music, but just infinite amounts of music kinda stress me out. And, you know, I’ve I’ve since leaned in more, but, you know, I think it is really meaningful when you get to kind of share the story of, you know, of your a personal story of how you come to a place, but also a company that you love and admire and artists that you get to work with. So thank you for giving me this opportunity.

Scott Cowan [01:03:26]:

Yeah. Thank you for making it happen, and I’m looking forward to, keeping an eye on what SubPop’s putting out in the next the rest of the year. Since you’ve teased that it’s gonna be a big year, we’ll have to we’ll have to keep an eye on it. But we’ll put links, to SubPop and, maybe even a link directly to the you know, if somebody wanted to submit their their music to review, we’ll find that link and put it there for them so we can save them a step. We won’t publish your direct email address. Well, if they find that, they

Bekah Zietz Flynn [01:03:51]:

gotta do