About the Show:

"I want the people that I work with and who I represent and who I inspire to know that it's worth it, that they're worth it, that they're valuable."

– Robyn Jordan

In this episode of I Am Northwest Arkansas®, host Randy Wilburn sits down with DJ, cultural facilitator, and HerSetHerSound founder Robyn Jordan to talk about the work she's doing to build greater economic opportunity, representation, and joy for women, people of color, and gender-diverse creatives in our region's music scene.

Robyn shares how HerSetHerSound grew from a single festival into a year-round ecosystem—188 bookings, 55+ artists, and over $100,000 injected into the local creative economy. She talks about her own journey, why mentorship and intentional space-making matter, and why real empowerment means more than just "exposure."

This one's for anyone who loves music, makes it, or cares about the people quietly shaping Northwest Arkansas's cultural life.

Key Takeaways:

• Empowerment Through Action: HerSetHerSound has created real economic impact, paying artists fairly and centering women, people of color, and gender-diverse creatives both on and off the stage.
• Building Community, Not Just Events: Robyn emphasizes hospitality, intentional curation, and intersectionality, crafting spaces where every guest, artist, and vendor belongs and feels seen.
• The Power of Local Roots: Robyn’s journey from party-goer to business leader is rooted in family legacy, mentorship, and a belief in bringing big possibilities to communities outside major cities.
• Challenging Industry Norms: The conversation highlights persistent wage gaps and barriers in the creative industry, calling for accountability, credit, and investment in those who make our culture thrive.
• Vision for the Future: With ambitions for more venues, year-round programming, and continued partnership with groups like NWA Pride and Juneteenth, HerSetHerSound models what inclusive growth in Northwest Arkansas music and nightlife can look like.

All this and more on this episode of the I Am Northwest Arkansas® podcast

Important Links and Mentions on the Show*

• Her Set Her Sound Website
• Her Set Her Sound on Instagram
• Booking Her Set Her Sound
• Tickets & Festival Info: FESTIVAL | Empower Change Today — Join the Movement — HER SET HER SOUND
• Arkansas Soul — Outlet amplifying Black and Brown voices
• Delta Dirt Distillery — Black-owned, Helena, AR
• Indigo Road Hospitality Group: theindigoroad.com
• Cousins Lounge (shoutout): Cousins Bentonville on Facebook
• NWA Juneteenth: NWA Juneteenth Facebook
• NWA Pride / NWA Equality: nwapride.org
• DJ Afrosia (mentioned local artist): DJ Afrosia Instagram
• FindItNWA.com NWA’s Hyperlocal Business Directory

This episode is sponsored by*

Signature Bank of Arkansas "Community Banking at its Best!"

*Note: some of the resources mentioned may be affiliate links. This means we get paid a commission (at no extra cost to you) if you use that link to make a purchase.

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• Email Us at [email protected]
• Connect With Our Facebook Page 
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• Connect With Our LinkedIn Page
• Join The Facebook Group 
• Connect with our Fearless Host, Randy Wilburn on LinkedIn

Thank you for listening to this I am Northwest Arkansas podcast episode. We showcase businesses, culture, entrepreneurship, and life in the Ozarks.

Consider donating to our production team to keep this podcast running smoothly. Donate to I Am Northwest Arkansas

Mentioned in this episode:

Signature Bank of Arkansas "Community Banking at its Best!"

FindItNWA.com

Looking to discover the best local businesses in Northwest Arkansas? 🌟 From cozy cafes to essential services, FindItNWA.com has got you covered. Connect with your local community with just one click and explore something great. Visit finditnwa.com today! #LocalBusiness #CommunitySupport"

FindItNWA.com

Hey, folks, and welcome back to the I Am Northwest Arkansas Podcast, the show

where we uncover the stories of the entrepreneurs, creatives

and community builders shaping our region. I'm your host,

Randy Wilburn, and today we are turning the volume way up. We talk

a lot on this show about the explosion of the arts and music scene here

in Northwest Arkansas. But we don't always ask who is

making sure the people driving that culture are actually

represented behind the scenes. Enter Robin Jordan.

Robin is a dj, a cultural facilitator, and

the visionary founder behind her set her sound to give you

an idea of her impact. In 2025 alone, her

platform secured 188 bookings,

amplified over 55 artists, and injected more

than 102,000 directly back into the pockets

of local creatives. She isn't just throwing events. She

is building an entire ecosystem that empowers women

and people of the global majority to take their rightful place

in the music industry both on and off the stage.

So whether you're a music lover, a creative, or just someone who

cares about the economic growth of our local culture,

you're going to want to hear this episode. We're going to hear from

Robin right after this.

Foreign.

It's time for another episode of I Am Northwest

Arkansas, the podcast covering the intersection of

business, culture, entrepreneurship and life in

general here in the Ozarks. Whether you are considering a

move to this area or trying to learn more about the place you call

home, we've got something special for you. Here's

our host, Randy Wilbur.

Robin Jordan. Welcome to the I Am Northwest Arkansas Podcast. How are you

doing? I'm doing really good after that intro. I mean, you

need to be introducing me every single time wherever I am.

Yes, sir. I'm blessed. It's like, I don't know if you ever remember

I'm Gonna get yout Sucker. And there's that scene where

every time the guy comes out, there's somebody behind him with a

boombox playing his superhero music. I like that, I like that.

You just gotta have your, your walk up music, you know, so just give it.

Just give me the, give me this after and I'll make sure. Right,

right, right. So. No, absolutely. So listen, I

want to. First of all, this was a long time coming. We, we acknowledged that

before we started recording. You've been somebody that I've seen in the

community. Of course, our paths cross in so many different ways. We have

a lot of mutual friends. We attend a lot of the same events.

And so I'm really excited. I really, really.

And we've kind of highlighted some of the. At a really high level, some of

the impact that you're making in our community. But first I want to

ask you got this icebreaker question for you. What was the first

album or track that made you fall in love with music?

Whoa. I threw that little curveball for you.

Yeah. And I am making you commit, not commit to something

that everybody's gonna hold you to. But I would love to know because

I have a song that I remember hearing that just blew my mind. And I

was just like, wow, wow. Are you doing

me like this? Okay. Okay,

now. Oh, this is going to be crazy. Okay, I'm going to tell you this.

So I was born in 92 and I was five years old

and my Way by Usher came out. Oh, my goodness. I

know, I know. I remember

going to my school, Sunshine school. It was like a, you know, like Christian

school. People were bad. We were bad. Right. But I remember

going to school and they would play nice and slow

and I don't know why. I mean, it was Usher.

The way they positioned him and our child and like just the music

industry. I mean, a five year old me had no choice but to love a

Usher. Right, Right. I remember being the back talking about Africa. Right.

I will my mama look back and be like, hey, no, you

don't say that. Right. But honestly, I feel like Usher because Usher

ended up being like the first concert I went to when I was in high

school. Okay. I want to say it was my Way by Usher. And

honestly, as I'm saying that out loud because I like my way. That's

probably why at 5 years old, I was probably like, you know

what? I'mma have my way. He was planting a seed a long time ago. Yes,

he did that. Yep. Nice and slow. Oh, yeah, yeah.

It's so funny. My cousin went to his residency in Las Vegas. She said it

was amazing. I'm sure she said it was. I mean, he's. He is a true

showman. Yes. You know, he spent some time with Michael Jackson and

Michael, you know, kind of gave him a lot. Yes. And that's the thing that

a lot of people don't know about Michael Jackson. He spent. I didn't even know

this either, but he spent a lot of time with a lot of these artists

that are now quite seasoned in the industry and they've been around. You're like, why?

Why is that person such a great showman? Well, they, they got lessons from one

of the best. Yes. And so I always thought that. I just thought that's an

aside. I thought that was interesting, but yes to anyone. And I think that

residency, he kind of has it, and then he. It goes away, and then he

brings it back again. But I've been told that residency is

must see music in Las Vegas. It's funny you say that, because

I'm a fan. I'm an enthusiast when it comes to performance.

Yeah. The artists that I love most are

performers I love, like Michael Jackson, Chris

Brown. Sorry, y'. All. I said it. I know. But we have to be able

to, like, take the good and the bad. A good performer is a good

performer. Beyonce, like, I've always been

attracted to a person who can perform with more than

just their voice. They have a presence. They have a

brilliance that I appreciate. And Usher, it's not a

surprise. And I think something else that you just tapped on.

Mentorship is vital when it comes to a person's development

to be around someone who has been through

the experiences, who has had the opportunities that you want.

There's something very special about being around that and then also being able

to take the lessons of what someone is pouring

into, you know, put it back into your craft. So, yeah, Usher might

be getting some slack. He may have gotten some slack. You know, I would eat

a strawberry from him. I would. Respectfully, so sorry. I'm not

sorry. It's all good. But respectfully, yes, I would. I understand.

I understand. I'll be a superstar. So only

in Vegas. Only in Vegas. Right? What happens in Vegas stays in Vegas.

So. All right. I want kind of back up a little

bit, because I do want to give our audience a little bit about your background.

How did you first get involved in the music scene and

what drew you to DJing in event curation? Are

you saying the music scene in Northwest Arkansas? Yeah. Yeah. Cause. All right,

Randy, you ready? Yes. Okay. I'm a party girl.

Okay. I've always been a party girl. I grew up

loving music, actually, something else. My dad DJed growing

up. And so I've always grown up around cases of

CDs, records, crates. I've always

danced. I've always been in some sort of choir, some type sort of

theater. I love musicals. And so music

and rhythm has always been in me. It's always been

something that's come easy to me. And I think

in 2020, when Covid was happening,

at the time, I had been. I had graduated from

the University of Arkansas, three years I had been graduated,

and at the time, I had my journalism degree with an emphasis on

advertising and public relations. And I'll Be honest. I

did not see the opportunities for me to even be in

the music industry. I didn't even see the. I don't think I can say

I had the desire to be in the music industry. I'm from St.

Louis, and I've noticed in the

Midwest and in places like in Arkansas, where

the music industry is underdeveloped compared to

more developed cities like Atlanta, New York and la, I didn't

think that that was something that would make me money. I was like, okay, this

is a hobby. I'm going to pursue business.

That's what I pursued originally. I was like, okay, I'm not cut out

in the way that I thought I would be. So I'm a switch it. I'm

a finish strong. And when 2020 came around

and we were all inside the house, I was just like. At

the time, I was a leasing and marketing manager at a student housing company,

and I just felt like there was something more

purposeful for me to be doing. I'll never forget. And I always shout out.

Nikita Reed, who was my former professor at the University of Arkansas.

She taught me an African Americans in documentary film.

And at the time, she had came out with a platform called Arkansas Soul, which

is to amplify black and brown voices in Arkansas. So she reached out to me

and was like, hey, I need some pitches. I'm trying to pay some writers to

help me build this platform. What you got? And I remember sending

her five pitches. And one of the pitches that I sent was on female

DJs in northwest Arkansas. And she liked it. Yeah.

And so I, at the time, my partner and

I knew a couple of. A couple other DJs who were

women who DJed here. But then as I asked

around about, like, who do we need to amplify? Who do we need to highlight?

I ended up talking to seven of the DJs and

listening to them. And I would say this is one of my gifts, is that

I can always, like, I can always see when there's an opportunity or a

missed opportunity. And at the time, these DJs

were. They were aware of one another, but they weren't really connected.

They didn't do events with one another. It was just like. Like

marginalized, like siloed. Yeah. And so I,

at the time, you know, was it, like I said at the beginning, party girl,

you know, I'm attending all the. Not all of them, but I'm attending quite a

few parties, and I'm always by the dj.

Like, I'm the girl that I wouldn't Want in the room, like,

hey, dj, can you play this? Can you play this? That shout

out to DJ Derek. Because I used to do him like that at Grubs all

the time. And now, like, years later, I'm like, don't

ask me for a request. But I was just noticing that the same

DJs were getting the shine. Yeah. And I knew

April at Prairie street at the time, and things just started to click. I

remember interviewing them and being like, if I hosted something, if

I, like, put you all in the same room, would you, like, what do you

think about that? And I got really great feedback. And so

it honestly just happened organically where I was like, you know what?

I'm gonna throw an event. I'm just gonna see what happens. I'm

gonna get these DJs the shine that they need. I'm gonna create

these photo shoots. I'm gonna go on a press run. I'm gonna get

some partners and some vendors, and I'm gonna give Prairie Street

Live a run. Yeah. And we had over

400 people show up at our first festival. And

when I saw the numbers, I saw the people,

I saw the ticket sales, I was like, oh, this is a business.

I said, okay, now I see what's going on now. I got my

little taste. I'm about it now. At the time, I had people

coming at me, wanting to coordinate, like, different festivals. I had

someone shout out to all bikes, welcome. They asked me to curate and

coordinate their biking festival. I don't know nothing about mountain biking.

I ain't know nothing. But I realized that people were seeing me as a

coordinator. Yeah. And the more, like, year

after year, the way. The more I've refined

and, you know, interrogated, what do I enjoy, what

feels good, what comes natural. The more I realize that

I want to make my mark in the music industry, the more I realize that

I'm not just curating a festival. I'm curating music

programming. I'm booking artists. I'm helping artists

develop. I'm helping DJs develop. And from there,

I think that was the start. That was like, all right, well, we're

going to incorporate her set herself. Because at first it was the festival. Yeah. And

then when people started reaching out about bookings, I was like, okay,

you know, you're not getting the festival when you book through me. But I can

at least give these opportunities to these artists and these DJs that

I've met. And so, again, seeing the numbers

and having, like, part creative mind, part business mind,

I'm like, I Told myself, I can do this, and so

I'm doing it. So does it feel like. And I'm going to use this

expression. Does it feel like an accidental field of

dreams? Like, if you build it, they will come? Or does it feel

like something that was really, really intentional for

you in terms of how her set, her sound has evolved

over the years? Because I remember that first year, and because we were all

cooped up in the house, people didn't. You know, and you had this event outdoors,

and it was, yeah, let's do this. And I remember. I can still see it

in my head. And I remember my wife and I came, and we were like,

oh, okay, cool. And it was like, oh, this is nice to be out here.

And, you know, I told you. I mean, I went to Howard, so, you know,

I know a good party when I see one. Right. You know what I'm saying?

I mean, so I don't. You don't have to tell me twice. And if the

DJ's spinning right, it's on and popping, no matter what. They're the

heartbeat of the music industry. Yeah. Yeah, absolutely. So, but was it.

Was it. Did you feel like it was a field of dreams of sorts for

you, or was it just. It just was an evolutionary thing.

I think it was both. I think that when I came

here, when I started Heard City Sound, I didn't say I was starting an entertainment

company. Okay. It was more of an intentional

experience to highlight these players,

these participants, these stakeholders who deserve

it, quite frankly. I think that, you know, when I think

about my dad DJing, when I think about how I've always

had music and rhythm in my proximity as a

proclivity, like, I. Part of me can't say

it was an accident. I can tell you I didn't see it coming. Sure.

I can tell you. I can tell you I don't know if I planned for

this, because I used to. I grew up watching VH1 and MTV.

I used to be obsessed with driven, hearing the stories about

artists. I used to be obsessed with making the band or making the video, even

making the band. And behind the music. Behind. Oh, my gosh. You

know, like, it was. Because I'm. I am. And I think also

it's kind of divine. Like, getting my journalism degree was not what

I planned to do. Sure. I said, every business needs

marketing. Yep. I'm trying to get Oprah money, so I'm gonna

go after marketing. Right. And then I got, like, accounting and finance thrown

at me. I said, what is this? Nobody. I don't know what this is? Let's

go to journalism. Right. Switch my major the fourth year in. And

I bring that up because storytelling,

journalism has always been something that I've loved.

Sure. And when I think about the beginning of her sitter sound coming

from an article, that doesn't feel like an accident, that feels

like divine alignment that was

orchestrated beyond my human experience that caused

something special to happen. But look, like you said it

was, I didn't see it coming. I didn't see it coming because I told you

I didn't pursue music thinking about

how. Not even underdeveloped. But in some ways,

there's like, resistance. You know, if I say, I remember years ago,

I had a lot of friends who were like, rappers and the way that

our society is set up is to look at them and be like, what are

you doing? Right? You need a real job. Yeah. But

then in 2026, I'm listening to the music that's on the

commercials. I'm listening to what the anchors are

saying on the news. I'm seeing what's on social media.

Rappers and musicians have everything to do with the language that we're hearing

and the visuals that we're seeing a hundred percent. And so

it took. I think it was by design. I don't think it was an

accident for me to think that I wasn't going to be able to

do anything in the music industry in Arkansas or in the Midwest

or heartland, whatever you want to call this, the South. Right. I didn't think

that was possible. And I think after that first

festival, I was like, okay. Like this is just on

a local scale. I. Let me say this clearly. I ain't got the

money to be paying for the A listers yet. Yes. But.

But it's coming, you know. Thank you. It's here right now. It's

here at the same time to see what happened on a local

standpoint. I know there were a lot of nuances that contributed to the

success. Like you said, people were ready to be outside. There was really

nothing or not as much programming that we see in 2026 that was

happening in 2021. Oh, yeah. And so I think that was

something that really impressed me to believe that even in

northwest Arkansas there's room for growth in this industry. So.

Yeah. Is it? Yeah. I mean, well, and I like that because

it definitely. If nothing else, one of the things that speaks to me is

that, you know, there are anything's possible if you really put

your mind to it. But even in Arkansas, in northwest Arkansas,

as much as we are experiencing a level of what I

would just call unfettered growth, that there's still room for

something new. When I moved here in 2014, at the end of 2014

into 2015, there was nothing like her set, her sound happening

here. And what I have, it's almost like every year

has been like, you know, the peel of an onion or something

where something new has been revealed. And that's kind of what I've

enjoyed in terms of being here in northwest Arkansas as new

opportunities have been presented to me as new

experiences. It took till 2020 for me to

have the her set, her sound experience here in northwest Arkansas. Now mind you, I

had seen female DJs around the country. I lived out in the Bay Area,

I was down in LA all the time. There's some amazing

female DJs all around the country. People think, oh my God, this is like a

new thing. I'm like, no it's not. It's been around for a long time.

And so. And I'm just a quick, humble brag. And

I don't know if I'm gonna impress you or not with this, but my

great aunt, my grandfather's sister, her name was

Mary D. Mary Dee was the first black

female disc jockey in Pittsburgh, Pennsylvania. And she had

a radio show with my grandfather. They were the first black

brother sister radio show in the nation. And

Mary Dee was a well known DJ in Pittsburgh.

And so anybody that would come to town, I mean, Billy Eckstein was from Pittsburgh,

but Cab Calloway, you name it, any musical artist that would come, would always

come to see Mary Dee. And then one of her sons,

her son and her grandson both cut their teeth in

the record business with Atlantic Records. So

going way back, but I mean, you know, so there have been

female DJs for quite some time. It's just that people

don't know about it. Yeah, I'm impressed, Randy. It's in your

blood. So it's like the more I learn about you, I'm like,

dang, Randy, you a icon out here. No, I think to

your point, and then this is why I believe it is important for her

setters down to exist. Because people don't know that

female DJs have always existed. You make me think about

Diana Williams, the reason why we a contributor to

ensuring that National Black Music Month was legalized. Yeah, she was a

dj. Yep. And there's something very special about

amplifying. Whether you're amplifying people's stories, amplifying

people's work, amplifying people's music,

DJs. And even when we think about radio, some people think that, like,

radio is a dying industry. Yeah. And I have a friend,

shout out to Sedman, who always brings up like, Dave Chappelle

going on this run that's talking about how radio

is. It connects you to the locals, it connects you

to. It does so much still that is just kind of

maybe undervalued. But shout out to Mary, dude,

I don't know if she. Is she still alive? Oh, no, she passed away in

the 60s. But yeah, she. But her legacy lives on.

And I'll have to share some information with you after the fact. But yeah, she.

She was like. I said, I. And I only say that to say that, you

know, I don't want anybody to think that this is a new thing. This has

been going on for a while. Right. You know, it just like, I think it's

just important for people to know because sometimes we see things, especially as African Americans,

and we're like, oh my, nobody's ever done that before. And I'm like, no, no,

that's been. It's been happening for quite some time. So, you know,

and I think it's just important to know. But, but from a historical

perspective, I think it's important for anybody to know that, you know, that's in

that. That, yeah, there's been a lot of successful female DJs

in the atmosphere for a long time. Yeah. You know, we got to

give credit where it's due. Yeah. I mean, it's. I think

the. Again, they are. I'm just going to humbly say this.

The reason why I started Heard Setter Sound is because I knew that these

DJs existed. Some of the DJs I've worked with have been DJing for 10

years, and yet after being on our platform,

have experienced the most success that they've had because

of that amplification and because of that advocacy. I think

it's one thing to have the skills, it's another thing to have the

opportunities. It's another thing to have the trust to

be able to build with partners, other artists, other

brands. And so, you know, I enjoy

working with DJs and entertainers and I also enjoy

orchestrating and coordinating and managing and

leading because I'm sure, you know this. The

biggest wage gap in any industry is in the creative industry.

Sure. And it is so often where

musicians and artists want to give and they want to

contribute and they want to show, and yet they are undervalued

or discounted, undermined. It. And then you can see that same thing,

you know, years later or on a big screen, and then that person will be

like, oh, is this new? And to an extent, that's, you know, a

beautiful thing, because that means that whatever that thing is, it is

expanding to new eyes. It's changing perspectives. But

I think also going back to your point and recognizing

and giving credit where it's due, I want to give a shout out to

DJ Sewell, who, before I had her sit or sound, he had a

women's in music event at a club in. It was called

Club Lush or Club Rush. You know, we've had all types of clubs out

here. And I remember coming to his event,

and I came because, one, I wanted to support women artists, and he

had a bunch of women artists, a lot of them, or at least a couple

of them that I still work with. But I remember looking around

and I was like, okay, it's a man on the mic. That's cool. That's

cool. Okay, the DJ only played for

45 minutes. That's cool. But women in music, you

know, I'm looking for. I want to see women in music. At the time,

you know, I have respect for Darren. I'm at Kiss 105.3

now. I have respect for the promoters who have been doing the work

before I did, because it's because of them that I'm able to believe in

myself and I'm able to develop what I have. But I saw opportunities

for engaging with more women

at his event. And so in creating hearset

or sound, I want people to recognize that it's

not just about the amplification or the advocacy on the

stage. It's about what's happening behind the stage and behind the scenes.

And so, yes, There are female DJs, but there are

female festival organizers, there are female

managers, there are female A and R artists. And

there has been barriers designed to keep the

very people who are taking care of our culture, who are

nurturing our culture. It's been designed to keep us out of

leadership, keep us out of senior suite or

C suite roles. And so. And I'm glad you. That was kind of

my thing, because getting into the mission and filling the gap that you

feel like you're filling in this space. Can you maybe just talk a

little bit about how her set her sound acts as

an advocate for creatives. Yeah. Who are often

left out of the conversations. Yeah. You know, a lot of

times it's. It comes down to having the opportunity to have the

conversation or putting myself out there. To have the

conversation. Yeah. A lot of opportunities that I receive. I'll give an

example. Last year we opened for Gorilla. That opportunity came

up because I said, hey, Gorilla has an audience that speaks to her. That

was at the Momentary, right? Yeah, I remember that. Yeah. One of the

best shows that we had, and honestly, why several people know us is

because of that show. And that happened because

I just had audacity. I was brave enough, and at that time, I had

a couple connections there. And I said, look, this makes sense for us. The

audience is similar. We have acts and artists that complement

Glorilla. Let's do this. I've had opportunities where,

you know, I'll give you another example. It's all Crystal Bridges, the

Momentary. But Crystal Bridges was throwing their wow series earlier

this year, and they were wanting to talk about music.

Yep. And I noticed on the panel it was all men. I said, what

about the women? It's a simple interjection with a question that a

person is allowed to interrogate themselves or to ignore.

Yeah. And so that's. I mean, that's simply how it

happens when there are opportunities that I see that are

in alignment or may be just inquired

upon. As I said earlier, I like to give credit

where it's due. I love to ensure that there's a holistic

perspective when it comes to our music industry, especially when it comes

to our innovators and our key contributors. And

I think that, yeah, a lot of things start with being

brave enough to voice and tell the truth about. Hey,

is the man's perspective the only perspective that matters in music?

I mean, when we think about hip hop, Sylvia Robinson played a

huge role in commercializing hip hop. Yeah. When we think about

rock, sister Rosetta Tharp was the one who innovated the

electric guitar. When we think about blues, Mamie Smith was the

first blues musician, female, male, or not,

she was the first blues musician to be on wax. And

yet we forget, you know, fast forward. We

think that women are just an accessory in this industry. Right. I'm not

saying, because my first thought was, I don't have time for that. But I

think I have a duty to say, hey, this is the truth.

This is what we inherited. This is our history.

And either you're going to acknowledge it or you're not going to acknowledge

it. But I also have to take responsibility and say,

hey, did you think about this? Yeah. And sometimes it's tough, you know,

sometimes people are like, oh, why are you trying to do this? And I'm like,

well, the history, the inheritance or, oh, you know, you're asking

for too. Well, we kind of out, like, what's the word?

Credit is overdue. Yeah. You know what I'm saying? Like, it comes down

and, you know, even spiritual life and death lies in the power of the tongue.

I use my tongue to inspire, and,

you know, I do what I can with from there. So I want to

add onto that where you've gone with this conversation

in terms of the vibe that you've been working to advocate for

and create. You've said you want people to leave your events

feeling connected, bold. Yeah. I love

this word. Unapologetic. Yeah. How do you,

Robin, intentionally curate spaces that allow people

to come as they are? And here's my reflection on going

to that first, her set, her sound. There were people from all walks of life

there. There was a lot of different people. There were people that didn't look like

me, and there were people that looked like me. And what I was

impressed with was that everybody was kind of coalescing together, of

course, around the music. Right. Because that's. Music is a unifier. It

is not a divider. Yes. Make no mistake about it. Yeah. But I

mean, how have you answered that? You know,

hospitality is a value of mine. And

I want to make sure that

artists feel well served, that vendors feel well

served, that production feels well served, and that we set a

standard for that to be reciprocated. A lot of times it comes

down to who's in the room and those people.

And I do my best to select stakeholders, to

select artists and vendors who represent

intersectionality, who are hospitable, who represent

those same qualities of being unapologetic. I look for authenticity.

I really do. I look for a genuine

connection. And I think oftentimes, when

you pick the right people, the vibe just dies. It speaks for

itself. Yeah. You know, there are things that we say,

what's not allowed. Racism, sexism,

homophobia, Xena. Just anything that has to do with

discriminating, abusing, or harassing others. We're very loud

about that not being allowed. Misogynor, especially, is not

allowed at Hearsted or Sound. And I think when

those boundaries are set and when you're. When we're clear about what we're

going to allow and not allow, I think that does develop

trust. I think that sets a precedent as to

what you feel or what to expect in that space. And I think

that, you know, no one can guarantee safety. I can't

guarantee that everything's going to go 100% sure. But I can

at Least say I said it, I meant it, and I'm doing what

I can to ensure that the space feels that way. I don't think there's

anything like, you know, there's not one thing that I do. I mean, I actually,

I do sage this. I sage the ground. You know what I'm saying? Like,

gotta release the energy, bless the energy. I do pray a lot as

well. I think praying and affirming does speak

life into people and it speaks life into space. So I'm very.

To an extent. Yeah. I'm intentional about what

I intend and being transparent, as

transparent as I can be with the stakeholders involved.

I think transparency builds trust. Yeah. And

we've done a great job at that. And again,

still having hospitality in the mix. You can't help but to feel

connected when someone is hospitable towards you. Absolutely. You can't

help but to feel like you can be yourself when someone's telling you, hey,

be yourself now, don't go harassing anybody. Don't go, you know,

thinking that consent isn't valuable over here because it

totally is. But be yourself if you're not hurting anyone. Yeah,

I think, yeah. Just by saying it over and over again

and believing it over and over again, that is what contributes

to the vibe at Hearstedter Sound. Okay. All right. Now,

because of that vibe that you have created, you've had

the intended effect of creating some economic

empowerment in our community. Okay. So as I

mentioned earlier, and again, I just want to give you your flowers because I think

it's great to be able to. To hear what you've done. And I wanna repeat

it again. In 2025, you shared that you worked with

55 plus artists. You injected

102,000 plus dollars into the

creative economy right here in northwest Arkansas. Why is

it so important to you to make sure artists are getting paid

and supported financially, not just

being given exposure? Cause sometimes people get invited to things

and it's just simply. You should be glad you're on this platform.

Yes. And, you know, we're not really paying you,

but you being here is enough to help carry you on. And I can't eat

exposure. Okay. It doesn't taste

good in a sandwich. Yes. No. So can you even taste it? No,

you can't. No, you can't. So, yeah, you know,

I had someone tell me this last year, and it. It changed the way that

I think about numbers. I said earlier when I was

pursuing my business degree, it was finance and accounting and economics

that screwed me up. And I've always been A numbers girl. But something happened when

the letters start to come in. I was like, this is just confusing. But

I remember taking a class and this facilitator said,

numbers tell a story. Yeah. And from then on out, I was

like, okay, well, let me. Let me look at these impact reports. Let me do

my budget, then let me not be afraid of my numbers telling the story

of what I want it to be. Sure. And so when you look at the

numbers, specifically, when it comes to the music economy

and when it comes to the creative economy, this is a billion dollar industry.

Not just, you know, in. That's billion. With a B. With

a B. And, you know, I'mma tell you this,

Randy. I understand why folks were worried about us being able to

read, because when you read and you're intelligent,

some things you can't unread. Sure. So when I found out

after I had powered her sitter sound that northwest

Arkansas was generating over $289

million in the music industry, I said, why artists

starving? Why are artists being paid less than

$10,000 annually when this is a. There's

$289 million now, you know, there's breakdowns to this.

You know, when you're bringing people like Janet Jackson and tlc, they get a

lot of money. These venues get a lot of money. So there's, you know, it's

not just for the artists, but as I said earlier. I know,

and it is written data shows that the biggest wage

gap is in the creative industry. Sure. Music has so

much to do with that. And so, I mean, I also feel like, you know,

I'll be honest, as a black woman, I don't feel like I can afford to

be saying, hey, I got you on exposure. No, no. I

don't need a reason for somebody to come around and be like, hey, Robin didn't.

What? Robin didn't add value. Her said her sound didn't add value.

You took that check, you took those materials, you got more

bookings after that. Isn't that what we want? Right. And so

even thinking about, you know, northwest Arkansas, rent's getting higher.

Eggs was what, $8 not too long ago? Like

gas, you know, gas. And then you got these boutique

restaurants coming up, so, you know, there are meals out

here. Sometimes 60 more than a hundred dollars. Yeah.

Artists who are already adding so much value to our

experience deserve to enjoy the things they deserve

to afford. The experiences, the products,

the services that makes our city and our region special.

And so, you know, some of it is ego involved, some of it

is intelligence involved. Some of it is just

getting off on paying people. Like, oh, yeah, I

can write. You know, it feels good. I've had artists reach

out to me struggling, and 48 hours later, I

get an inquiry, and that's an $800 check for a couple hours.

You know, like, it's stuff like that where it

warms my heart. It affirms that this means something.

And, you know, it would be different if everything in life was free. Yeah. You

know, the credit wouldn't matter, the money wouldn't matter if water was

free. You know what I'm saying? Like, if capitalism

was not present, then I don't think this would matter. But I think

because of these wage gaps, because of the disparities,

because of the dilution of stories

of history and heritage, that. And then also,

let me also say this because I. I like to read. Or I at least,

like I said earlier, I like knowing people's stories. And one

thing that stays on my heart is how sister Rosette

Tharp died without a tombstone. Yeah. And

to think of prolific, trailblazing

talent having such an impact in industries

and genres and experiences in the world, dying

without a tombstone bothers me.

It's almost like all that value that you added to the world

wasn't enough for you to experience. And I.

I want the people that I work with and who I represent

and who I inspire to know that it's worth it, that they're worth it, that

they're valuable. That's another thing. You know,

value in some ways is subjective, but the

numbers don't lie. The numbers tell a story. And so, yeah, I

feel really good about being able to pay others. And I'm

hoping that the respect for not only entertainers, but

again, for organizers like myself or managers like

myself or facilitators like myself, that

that craft can be valued just as much now.

Everybody wants to be entertained, but do you want to work with an

organizer for that entertainment, for that production to go

seamlessly? Yeah. You know, everybody don't think like that. Yeah.

But, yeah, it's important to pay people. Yeah, that's

it. Pay them. We'll repeat that twice. Yes. Okay, tell

me about 188 bookings last year.

And I don't do public math, but 188. That's

almost one booking every other day in a year. Yeah.

Clearly you had to overcome some hurdles to get to that point. Are you amazed

that in everything that you've created in these last four to five

years that you're on pace to do that kind of

Work. And what does that say to you about what

you're doing? Randy, you're so special. I really appreciate you.

I really do. It does amaze me. I'm not going to get

emotional, but I was telling you earlier, like, you know, a lot of people,

the arts and music in Northwest Arkansas is so absorbed by

nonprofits, it's so absorbed by causes and charity

that it's sometimes challenging to put a value on it, even

though it is valuable. When I see

every year that our bookings have increased,

that the amount that we've been able to pay out has increased,

it's telling the story that like that I'm growing and

I'm evolving. And although that comes with its pains and

its hardships and it comes with its lessons and really it's heartbreak,

it's showing me that you can still experience

those downfalls and still have success. Yeah.

I am very grateful of how many

opportunities, how many event managers, how many venue

managers have reached out just to not only support her sitter

sound, but knowing that that's what they want in their establishments as

well. It's validating. It shows that

what we are creating and what we've been creating has

always been irresistible. And you know,

for me, I just hope it continues to increase. But I

also hope that the maintenance and

the capacity to sustain it all is increases as

well. You know, I am very grateful to be in a

relationship where I can do this, not this. This is my full time.

Yeah. And I know a lot of artists and DJs out here, especially

in northwest Arkansas. This is their part time job. And

so I'll be super transparent. You know, I grew up saying I

want eight streams of income. I grew up saying I just want to have six

figures. And when we generated over

102,000 last year, I was like, dang. I know

first of all, this all wasn't in my personal account. Right. So I was like,

where money where, where I need some more. You know what I'm saying? Like,

yeah, I didn't even where my six figures in my personal account.

But I also think when thinking about

289 million being generated in northwest

Arkansas. Yeah. And to be less

than 1% of that, you know, like 100,000

compared to that, like it doesn't feel like a lot, but

it means a lot. Yeah. And you know,

got it. I don't. We haven't, you know, had like five or six

figure grants yet. We haven't had like any foundational

support or really any corporate support. We have

organizers and organizations seeing what we're doing and saying, hey,

we want some of that, and we want to support you in the midst of

that. And so at the same time,

our bookings are growing. I am

wanting hearsetter sound as a brand to grow so

that people recognize that it's not about just being

entertaining, it's about being able to do be a good steward

over entertainment business, over the music business.

And I think that's something that not only just amazes me, but it

validates that we're doing good music business. You wouldn't have,

like, you know, shout out to Indigo Road hospitality. This year. We've got

five different residencies with them. Okay. Four on a

weekly basis, one on a monthly basis. That

type of frequency and that type of commitment

and devotion to hirsa der sound shows me that

music goes beyond the stage. Right? Yeah. We're in these third spaces,

but we're also contributing to more than

out. It's more than just the music business. I read somewhere a couple years

ago, for every dollar that is put into the music industry,

$1.50 is added to the entire economy. Sure.

And so that's what I'm thinking about. Even, like, you know,

these restaurants or these lounges reaching out. It's just like,

okay, y' all recognize that this is valuable

and that this will contribute or this can contribute to your success.

It is amazing because I told you earlier, Robin, in 2020,

in 2011, was not coming to Northwest Arkansas for anything music related.

Right. Like, a lot of people here, it wasn't in the plans.

Like, what is. Like, what is this? Yeah. But then the

other part of me is like, well, if you can do it in a space

where it is underdeveloped, then what could you do in another space

that's underdeveloped? That's right. What could you do in a space where it is

developed? There are female DJs, but are there

experiences powered by women, Female

gender diverse people? Yeah. Oh, yeah. It's

amazing. But I'm ambitious, Randy, so I'm like, more. The

sky is the limit. I want more. Yeah, more

so. And I'm glad you mentioned some the of the partnerships that you're involved in.

So people know that, again, you are taking the

opportunities that you've been presented with and the success that you've had

and have parlayed them. I mean, you did a Saturday

residency at the Sidecar cocktail lounge in

Fayetteville. You're doing some Delta Dirt

collaboration, or has that already been done? So I'm one of

their ambassadors. So when Delta Dirt is out here at least for

majority of the time. I'll give them 85%. I'm

collaborating with them activating different restaurants and

establishments throughout the area. So shout out to Delta Dirt. We

love them. Tell people what Delta Dirt is. Delta Dirt Distillery is

the first black owned distillery out of

Helena, West Helena, Arkansas. They make their products

from sweet potatoes and they have a vodka, they have a gin.

They have what they call an Arkansas Brown, which is their sweet

roots and their deep roots. They can't call it bourbon, right. Or

whiskey, but they have the Arkansas Brown and they are

family owned farm to bottle spirit company. Yeah. When I

first saw them, I just like to support us. Yeah. Especially in

industries where we're under, where we've been main

contributors, but we've been undermined. It marginalized. Jack

Daniels. Okay. I mean, so. Yeah, no, I understand. I understand.

Uncle Nearest. I don't care what you say. Right, right, right. You know, it's something

special about seeing people pursue

what has always belonged to them. And to have, you

know, some sort of economic ownership is what I admire

about what Delta Dirt is building. And so get you some Delta

Dirt if you haven't yet. If you haven't yet. It's good. We'll put a link

in the show notes to that so people know where to find it. So the

six annual festivals coming up, what Quickly, if you had to

distill it down to its bare essence. What is the vision for the

6th annual Hirstette Hirst Sound Festival this summer? At the

time we're recording this in June of 2026.

The festival will be in August of 2026.

What is the vision for this year's festival? The vision for

the Hersetter Sound Festival is to center and celebrate

four mothers, daughters and key contributors to women

worldwide music and well being. We will have music and

artists and vendors who are all contributing to

worldwide music and health and well being and

bringing a holistic energy to our

music scene and to our music experiences. It's about

that. Okay, all right. I like that. Did I hit that? Did I hit it?

You did. You hit it right. I've been practicing. You hit it right. And then

I want to talk about. I know from a community perspective you

regularly work with NWA Pride and obviously NWA

Juneteenth, which is coming up. Why are those partnerships core

to your mission? Well, intersectionality is,

is another value. It's recognizing that, yes,

I'm a woman, yes I am black, yes I am queer.

And all of these things are a part of me. NWA

Juneteenth the committee. It's all about Juneteenth.

It's about black liberation. Yeah. And if you ask me,

if it wasn't. If it wasn't for Black Bondage, then we wouldn't have

worldwide music. Sure. And so it's important

to work with committees like theirs and even like NWA

Pride. Both of these organizations have been

throwing events for decades. I want to say

NWA equality has done NWA pride 22 years.

And then Juneteenth, this is their 30th year doing

Juneteenth in Fayetteville. It's important to get behind

the people who have blazed the trail for me to be able to

do what I'm doing. And then, like I said, to recognize

the intersectionalities in that we

promote and we celebrate. We work

with people who identify with both of these

identities. Well, when I say both with all of these identities, because

Pride has 50, 11 identities. And then you got black

people. Are you southern? Are you from the Caribbean? Are you.

You know, the diaspora? It's multivariate. For

sure. Yeah, for sure. Yeah. So I think it shows our.

I think the word may be malleability. It shows that

we're able to. We're not in one box. One thing that kind of

annoys me about her said her sound. Well, at least, like, what people think of.

They're like, is it only for women? Is it only for queer people? Right.

I'm gonna say it. Shout out to Anthony. You don't think that when you hear

Smooth man production. Well, there's no such thing as, like, queer music

or. You know what I'm saying? Not like that. I mean, there's nothing like that.

I don't. I mean, because I think. I mean, when you hear the music, you're

like, man people. You hear music and it's like, okay, this makes me move.

Yeah. It's like you don't stop to think, well, what type of music is this?

It's like, I don't know, the beat is just syncopated in my head, where my

body keeps moving and I have these reflexive actions. Yes. That I

can't control because it's just. You better be able to control it. It's just it.

You know what I'm saying, though. But. But I mean, that. That is.

I mean, that's just it, though. But we like to label everything. Yeah.

So, you know, I mean, that's just. It's kind of the way things are. I

just want people to know. Just because it's about her doesn't mean

that it's not for us. No. Like, it's about

moving her sound forward. Because why is her sound in the back?

No. Who put it there? Somebody did. Yeah. No,

I love that. And, you know, I think about shout out to DJ Aphrosia. Yeah.

She's been, you know, she's all over the place. I mean, she does stuff with

the Black Expo, and then, you know, she was down at the Governor's cup

in Little Rock and representing. And so, you know, I always like

to. Just shows me that as these venues and as these

opportunities have been created, it's creating a Runway for people

to take advantage of. Absolutely. You know, shout out to all

the women DJs who are not just riding around. She just

happens to be the one. I know. That's why I mentioned her name. But, I

mean, there's others, obviously, for sure. Yeah, yeah. I think that

there are opportunities out here for us

and you. We can either take advantage, we can advocate for it.

Nine times out of ten. I mean, no disrespect to male DJs out there,

but, you know, women in this society are

taught to be more attentive. Yeah. We are taught to

pick up on people's emotions, people's vibes. Yeah.

Arguably, one could say that a woman is

positioned very good, very well to read a room.

Sure, sure. So, yeah, no, I'm gonna just leave it with

that. Okay. Yeah, yeah, no, I hear you. Well, there's a sister that I

follow, and she's from South Africa. She's a dj. I just can't

think of her name right now. No, that's not

her name. I don't think this girl. She's on YouTube. She has a huge following

on YouTube, but she is an amazing DJ.

Like, amazing. So. And, you know, whenever I think about a

dj, I go back to DJ Red. I mean, I grew up outside of New

York City, so DJ Red alert. And, you know, I mean, that was

the kind of stuff that I heard back in the day. But even back then,

like you said, the first female DJ that I knew was DJ

Spinderella. Yes. And I saw her DJ in New York

City, and it was amazing. I was like, oh, my gosh, she's great. But I

grew up with salt and pepper. So that was kind of like the thing where

it was like, okay. But I mean, as soon as you see something like that,

you're like, oh, well, if she can do it, there's somebody else that can do

it. And, you know, I'm glad you said that, Randy, because there's something about black

women doing things that really inspires

everybody. Everybody. It's like, oh my God,

she's doing that. Yeah. Okay, I need to try it too. It's like,

okay, are you trying this because you have a desire

or you just see someone doing what they do and you want to

imitate, extract, whatever, which, you know, it's all about the expansion.

But I think maybe, I hope that a theme that comes in

this episode is thinking about credit and thinking about

inheritance and thinking about authenticity. Sure. And I

think that what engages me and I

think, you know, gives me a lot of

passion and a lot of purpose is knowing that

I'm advocating for folks who've always been here. Yeah. I'm

advocating for narrative that's always been here. And

I just hope that even if we change a couple

perspectives, a handful, I mean, we want thousands and thousands of

people at hearse that are sound. You know, we get a lot of impressions, but

it's not always about having thousands of people

show up. It's really about being a good steward and

ensuring that when people do show up that they feel like they can be

themselves, they feel like they can

dream and that there's no. They don't have to be

confined when they dream. So I like

that. Well, you're helping me wind this up really nicely. If you could wave a

magic wand, what does the NWA music and

nightlife scene look like five years from now? In five years,

Hearsted Her Sound has a couple venues in northwest Arkansas.

Magic Wand. I'm the fairy godmother. You know,

I would like for Hearse that her sounds programming to

expand beyond the clients and the organizations that we

work with. I hope that there's more room and

space for music professionals who look like me, not just music

artists, music professionals who look like me.

To shine, to succeed. I

think not. I think. I imagine with my

magic wand that people are saying

great things about the music scene in northwest Arkansas.

I imagine that they are looking forward to music

programming instead of looking at Dallas or looking

at Austin to see someone they really want. And

then I hope, really, like I said, more heard of sound

placements and venues. But I do want to see more. Not

just women owned, not just black women owned, but black owned

venues that hold music programming and hold music

experiences. I think they're. I don't know why.

I don't know why Magic City is coming to my mind. I don't know why.

But hear me out. Hear me out. I watched the docu series and I thought

it was special because there is something about being in a

space with people who know how to accommodate you.

Yes, yes. And it's not for play. It's not. It's not just in February.

And for the uninitiated that are listening to this, Magic City

is a black strip club in South Atlanta.

And unfortunately. No Magic City. I. You said

unfortunately, I said. Well, I mean, I know it. Randy. Don't say it's

unfortunate. Stop. No, listen, I've been to

Magic City. Let's just call it what it is. I've been.

I actually went there. I was taken there by a former mayor of

Atlanta. See, get the mayor involved. That's how, you know.

So it was. It was a quite an interesting situation. But you're

absolutely right. It is. The documentary's highly recommended.

And it sheds a different light. Absolutely. On

that business, actually, what Magic City

represents in the African American community in

Atlanta, which I think I thought was really interesting. So my respect for

strippers exceeded. I'm gonna. We've gone

to a whole different place. Yeah, but it's music. You gotta

think about it. If it's not for the strippers, the music doesn't move.

Yeah. Atlanta's hip hop. Atlanta's music scene

after, you know, Cameo, after funk and all of that,

you know, hip hop trap, which changed the world's reason, the reason why we

have K Pop, it's the reason why we have a Jack Harlow. You know what

I'm saying? So when we think about places like that,

where the music moves, where the music thrives and

it's moving who it's meant to move, that's what contributes to the success

of the industry and the experiences. Shout out to the mayor, because the

mayor's got to get behind this, too. The mayor has to get behind. Well,

he wasn't a mayor at that time. He was in college with me, so. Well,

it speaks to his palate. Yeah, exactly. He's so. I thought that was.

All right, listen, I got three quick Rapid Fire questions for you about

NWA Rapid Fire, favorite local spot to grab a bite

after a gig. Oh, and

that's hard. What's open after 1 o'? Clock? That's. See, that's the issue.

And that's the thing. That's the biggest complaint that my wife, a city girl, has

about northwest Arkansas, is that everything closes too early. I

wouldn't say this is my favorite. Okay. I'm sorry. I'm not

being paid to say any of this. I'm not. Sorry. Yeah. Whataburger's

always open. Okay. Okay. I love their hash browns. But also I want to

shout out plomos because Plomo's is typically open late.

Yep. And Los Boba, you said one rapid fire. Okay, I'll

stop. But Katie K's chicken and waffles. I

always like Keith Kidd. They're open late now. Oh, yeah, he's open.

He's when the students are in school. He's down on Dixon on the

weekends until 3:00am 3. Yeah. And you know they're about to open a new

location Right on college. I have seen that. Yeah. So I'm really excited for him.

You made me think about Tori and Nessa too. Okay. Have you had them yet?

Yes, yes, yes. Very good, very good, very good, very good. A lot

of times nowadays I'm out in Bentonville a lot. If I was out in

Fayetteville. Northwest Arkansas has got its spots. They

definitely does. That's for sure. And it's only going to get better. Yes, it's only

going to get better. Okay, second question. Favorite outdoor spot in

northwest Arkansas to recharge. It's a good one, right?

That's a good one. Outdoor spot to recharge.

I do love the trails. Okay. I do, too. I'm on them every day.

Yeah. Like literally every day. I like, I walk through my

madness. So the trails have always been good to

me. Okay. Yeah. And then finally a

local business or creative other than your own that we

should be paying attention to. I want to shout out Keke at Cousins.

Kiki has a lounge in Bentonville

and she is creating an atmosphere for people to walk

in and come out as family. Come out as cousins. I love

her spot. It's big. It's got a lot of potential for

incredible music experiences, but also for just

any type of event. So Keke at Cousins, if you

haven't been there, and she's got some good food too. Okay. Okay.

Kiki Cousins. I would say it's legit. Yes. Okay. All right.

I like that. I like that. All right. Where can listeners follow the movement,

find upcoming events and support the platform?

Love this, Randy. You can follow us at Herset

Hersound on all platforms. You can also Visit our

website, hersethersound.com if you do

slash events, you'll get all of our events and all of the bookings that we

have. If you do slash festivals, there's more information about our

festival and you can buy your tickets there. So, yeah,

Hersett. There you go. And we'll put all that in the show notes.

As you guys all know, you can just go to iamnorthwestarconsas.com and get

all of the information. You can find the transcript there for this

episode and all of the other accoutrements that go with this

podcast episode. Robin Jordan, thank you so much for joining us today.

We really, really, really appreciate it. You kind of laid out some things

and you dropped some knowledge here, and it's very rare

that, you know. I'll leave you with this. Sylvia Robinson was actually

a neighbor of mine. Stop her, boys. And I grew up together,

Sugar Hill, because I thought you were gonna ask me what was my most

memorable song. My first most memorable song. It's okay. It's

okay. No, no, it's okay. Was Shaft. I listened to it in my

aunt's basement in Washington, D.C. when I was a. I was

a little kid. So when Shaft came out, I think it was 74, 75.

You know, that was my song. Isaac Hayes, Shaft. And I can

hear that song in my head all day long. And that was the first song

that was really impressionable to me. My next favorite one

was when I was nine years old and Rapper's Delight came out. You were nine?

And it changed everything for me. Shout out to you. Yeah, it changed.

Yes. I was alive in there. And it was even a bigger

deal because that was Sylvia Robinson's label. Yeah.

So you know what I'm saying? I mean, so that's why. Yeah, I know, right?

That's how I feel about it. I'm just like, man. So, yes. But

it's all good. But thank you so much for joining us on this episode of

the podcast. This was long overdue, but really

enjoyed. So thank you so much. Robin Jordan. Her set, her

sound, folks, support this woman. She's doing amazing

things. And if you are out there and you see her in Northwest Arkansas,

just give her a pound and say, hey, what do you need? Come on,

Randy, tell me. Randy sent you. That's it. Randy's the one, not the

two. Tell them that I sent you and that you heard about it first here

at I Am Northwest Arkansas. That's all we have for you this week.

We'll be back really soon with another brand new episode of I Am Northwest Arkansas,

covering the intersection of business, culture, entrepreneurship, and

life right here in the Ozarks. I'm Randy Wilburn, and I'll see you

soon. Peace.

We hope you enjoyed this episode of I Am Northwest

Arkansas. Check us out each and every week, available

anywhere that great podcasts can be found. For show

notes or more information on becoming a guest, visit

imnorthwestarkansas.com we'll

see you next week on IM Northwest

Arkansas.