In this episode of Backstage Money, Jason K Powers sits down with Dale Thompson, lead vocalist of the band Bride, for an honest conversation about longevity, faith, and what it really takes to survive in the music industry for four decades.

Dale reflects on his journey with Bride, including hard-earned lessons from early record deals that did not work in the band’s favor. He speaks candidly about being taken advantage of by labels, learning the business side of music the hard way, and why understanding contracts, ownership, and money matters is critical for artists who want to last.

The conversation covers the realities of building and sustaining a band through constant industry change, from touring and recording to navigating setbacks, reinvention, and burnout. Dale also shares how faith, discipline, and staying true to your message helped him endure challenges that end many music careers.

This episode is a must-listen for musicians, artists of faith, independent bands, and anyone who wants a real-world look at the business mistakes, lessons, and mindset required to build a career that lasts.

Backstage Money is real-world finance for musicians, where music and money collide through honest conversations with artists and industry professionals who are living it.

Connect with Dale Thompson

Instagram: https://www.instagram.com/dalethompson1963/

Facebook: https://www.facebook.com/DaleThompsonBrideVocalist

Bride

Instagram: https://www.instagram.com/bride.band/

Facebook: https://www.facebook.com/BridebandOn/

Website: https://www.bridepub.com/

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Welcome to Backstage Money, real World Finance for Musicians.

I'm your host, Jason K. Powers, and this is the show where music and money collide,

where we get real about what it takes to make a living, doing what you love.

You're gonna hear honest stories, practical lessons, and raw insights

from musicians and industry insiders who've been there, done

that, and are still making it work.

So let's get to it.

Today I'm excited to be joined by Dale Thompson, singer songwriter storyteller,

four time Dove award-winning artist, and notably the front man of the band Bride.

Dale, welcome to Backstage Money.

Thank you for having me.

Yeah, I'm excited to have you now.

Now, Dale, tell me a little bit about Bride.

Bride's been around since what, 1983?

Is that right?

Troy, my brother and I, formed a band called Matrix in 1983,

which evolved into Bride in 1985.

Even as Bride, we were still playing of the old matrix songs live and

calling them Bri Bride songs.

So

Mm-hmm.

goes way

we, we, we, just say like, now we're celebrating our 40th year

a band, you know, so that's, that was one of the, we were, we were,

touring with Petra in Brazil.

They were celebrating their 50th year and we were celebrating our 40th year.

So

awesome.

That's fun.

Yeah.

That's one of the reasons I wanted to have you on the show is just

that, I mean, you guys have.

You guys have been around for a while, you know, and you've seen the ups and downs

of the career and, and the good, the bad, the ugly, and, you've, you've got some

experience under your belt, let's call it.

Give me, gimme a, a kind of a quick rundown of, of how did, how

did you guys even get started?

How did all of this just come to life in the beginning?

from a very musical family.

All of my uncles play music.

And my dad, we just grew up in a home where dad was always singing

and playing guitar, and then back early on when I was just a small guy.

I just remember them in my cousin's basement, four or five people playing

guitars, mandolins, banjos, violins or fiddles, whatever you wanna call it.

so we, Troy and I grew up playing music.

We, we had a, southern gospel band.

believe I was probably 10 or 11 and Troy was like eight or

nine or something like that.

And we had a, we traveled around the local churches.

We were called the Hillview lads.

was back in the seventies.

So we, have all that, being in inundated with music all the time in the house.

dad still plays.

He, he's 81 years old and he's plays piano and church and sings and, he's

recorded with us on some southern gospel songs that we've done.

So it's, it's quite, quite cool to

No, that's great.

But that's, that's how we, Troy and I started we didn't start off to,

to make records or to travel or to tour or anything like that really.

just one thing just kept leading to another.

And that's how Bride ended up, were in Potstown, Pennsylvania opening

for the Daniel Band, and we'd only released a cassette at the time, a

matrix cassette I think the Daniel Band, which we just played with

the other day, which is quite cool.

40 years later.

We we were spotted by a record company back then, if you

wanna call it a record company.

But anyway and they signed us and, you know, I have to say, and, you know with,

without them signing us at that point we probably wouldn't have done much else.

We weren't looking for a record deal.

Mm-hmm.

cassettes through the mail.

And, and so I read a, I read an article at some point that it, it kind of touched on.

I'm wondering if you could, if you could touch on that, about how when

you were ready to record your, debut album mean you Show No Mercy album.

You started out with this modest budget, and, and how that came to be.

Music Group is the,

Label that I'm not gonna name.

And we were on their pure metal records, which I won't mention that name either.

And so they, they signed us and said, can you do an album for $2,500?

And we're like, yeah, we could do four albums for $2,500.

'cause we didn't really know what.

It took to do an album for, you know, we had demo tapes,

but, so we went over budget.

We Show No Mercy was $2,750 and it's only because they wanted another song.

so that was, that was hiring the studio, mixing you know, I think we, in a couple

of of other players, but we didn't pay 'em because we didn't have any money.

So that just launched three albums with that Pure Metal Records.

and, you know, Live To Die is one of the ones that people still talk about today.

They wanna hear songs played live from Live to Die, whereas we're, we're

now playing songs off almost all the different records when we play live.

Just so.

People will say, oh, they did play one off of such and such.

But yeah, they, they signed us and we, we suffered through that three or four

miserable years of being, being lied to and cheated and skimmed off the top

and the bottom to where we, we really, when we finalized our deal with them and

we said, we don't want to have another record label, that that was stupid.

We didn't make any money and they took it all.

know, they're selling 50, 60,000 albums for us, but we're

not getting any of the money.

So we said, no, it's, you know, we're done with that and we sort of started where

we up, where we left off just being a glorified garage band again for a while.

What did you guys do to transition out of that stage to

start rolling out more albums?

well.

I.

We did not

that the direction musically that we were going in was a good direction

because it was sort of thrashy at times.

neither Troy or I listened to anything like that, you know, it's

wasn't our style that we listened to.

So what we did is, is we changed band members and we brought in.

Jerry McBroom on drums and we brought in, Rick Foley on bass, that is, that

formed a band that was unstoppable and it was just because we had a. All

the spokes in the will, and we were rolling and we knew we had something

special with this combination of guys.

And we dumped the super heavy stuff and opted more for, just

straight ahead rock, rock music.

Mm-hmm.

fit, that

Troy was a groove player.

Troy wasn't all flashy, you know, doing agios and sweeps and stuff.

he doesn't, he, he never wanted to do that.

He didn't wanna be that guy played like as fast as you could.

He wanted to play tastefully and give people something that

they could hum or remember.

So that's, that's how we've approached our songwriting

You kind of a kind of, it's seems like sort of a stay true to

yourself, so to speak, and find.

That

what

works for you guys and your core, right?

us into the super heavy stuff is that Troy back in the day, wasn't

playing a lot of solos, and I thought we needed some solos on the albums.

So we brought in, osborne, on Live to Die.

And we thought, man, that's what, that's what we've gotta do.

Because Steve Osborne sort of brought the metal part, Troy's got the Hard

Rock part, then when we stopped recording with Steve or stopped

writing songs around his guitar, that's, that's when we found ourself.

That's great.

So tell me about like what's one money lesson?

Let's call it that you wish you'd known when you started out in this venture.

There's so many we didn't know what cross collateralization was,

so what that basically means is a record company does an album for you

and you don't have to pay a penny.

You just show up.

They do the album for you.

Say the album costs $20,000.

You don't get any of the money for the sales of that album

until that $20,000 is paid off.

And if it's not paid off, and they give you another $20,000 for the next record.

They combined the two together.

So each album doesn't stand on its own.

They just start stacking the dollar amounts until it's some

astronomical fee, according to them.

And their accountants, you know, they were charging us 40 grand to do an album.

Well, we, we weren't using anywhere close to that sort of studio time, so they were,

you know, fixing the books and all this.

So we, we would be smarter now, you know, take.

Big advances upfront because that's all you're gonna get is the advance.

you're not going to make, nobody's making any money on album sales.

Now you're pretty much, if you're not on the road playing, you're not making money.

Okay.

Well, so that would kind of be one of my questions is what's,

what's been over all the years?

What do you think one or two of the most reliable ways you've

earned income through music

touring having merchandise that people wanna buy, because if you go

out and you playing shows just for the honorarium, which isn't much,

hardly, you know, that bans on our level, we don't get $50,000 a show.

So when you're playing on our level, you, you need merchandise.

You need something appealing to the fans so you can sell,

T-shirts, CDs, whatever you can come up with.

I mean, we used to have a major abundance of different, merchandise

products, you know, hats and buttons.

I mean, we had everything, all the other bands did, and, and that's

how you, that's how you made the money because the honorarium paid

the guys a little bit and it paid for your trip to the show and back.

but it, it didn't.

Put any extra money in your pocket so you, unless you were playing, you didn't

have money to survive and to eat on if you had big lulls in your touring.

So we try to go out and do about a hundred shows a year, but yeah,

we learned that if you're not selling merchandise, you're not.

You know, banking any money.

yeah.

Merch seems to be a huge one, especially it seems like you know,

every show I'm at, those are the longest lines, of course, besides the food.

But merch is, merch is people love the stuff.

People love taking home, the memory, the physical, tangible memory from that,

Show and, and that's great.

I love, I love merch stuff.

I'm, I spend way too much money on merch, you know, and, but,

but that's where it's at, right?

I mean, that's, that supports, I think the artists, the best

upfront and the best on site.

if you, if you say you're trying to depend on your honorarium, if you don't

get at least half of that money up front.

A lot of times what happens is, is you play the show and after

the show the promoter says, well, I've come up short tonight.

I can't pay you what we agreed to.

I had to pay the light guy and the sound guy and the, you know, the

band is always the last person to get paid or you know, used to be.

And so they end up stiffing you half the honorarium anyway, so if you have it.

Made that money up somehow, then you're actually paying out of your pocket

to pay your band to play with you.

You know, and it's, it should come off the show itself, you know, but,

Mm-hmm.

Sure, sure, sure.

So, career wise, what do you think, if you could pin it down to one or

two pieces of advice, what's, what's kind of the best financial or career

advice another musician or another mentor in the industry has given you?

Well, I guess just don't put all your eggs in one basket.

You know, don't, don't become so.

Tunnel vision that you can't see all the other opportunities around you.

You know, I mean, we, we often missed opportunities because we were too involved

in certain other aspects, you know?

I think for me, I would've liked to have gone out a bit more on the road.

And we've had bands tell us, you know, you should have gone out more on the

road, even if it were some bad dates.

A bad date is a date, you know, it's so you, you go out.

But.

Where the logic came in with me and Troy at the time, it was,

we play only the good shows.

We only play the weekends, the Friday, Saturday, Sunday and

come home, or only the festivals.

We'll take a band like Disciple, they'll play anywhere and everywhere

and sometimes they, they make big money and sometimes they make no money.

But Disciple has been consistently on the road for years.

I mean, this, they're one show after another.

And we, we sort of did that.

We did some tours, longer tours, we, we would just end up you know, we

were driving ourself everywhere or flying if it was too far to drive.

So we were doing our own load ins and, you know, our, I mean, you name it, we did it.

We were the road crew and the band.

You know, and, and that, that just, I think just people saying you guys

should have did more live shows and.

was, there was times we probably could have did more live shows, but

we just weren't willing to take a risk of playing a show that was gonna

be disastrous, even though we played some shows that were disastrous,

that were supposed to be shows.

You know, you show up

Mm-hmm.

the middle of

it's cornfield with a hay wagon and your gear is gonna go on the hay wagon and

you're gonna play to, to the scarecrows.

it's like.

Okay, that's a gig.

We won't do this again.

You know, so we, we did,

Yeah.

that you

you have to keep yourself out there in the Publix you know, I post daily on Facebook

and just, just make yourself available.

That's another, that's another good thing is show people that you're human,

show people that, that you're friendly, that you're not a rock star, and that.

You're just very happy they buy your music.

And just stay in

Mm-hmm.

with your,

fans around the world.

And that's, that's, we've always did that.

We'll play a show then go out to the merchandise table and hang out until

everybody left and we're still there.

And we're deadbeat.

'cause you know, we've driven a long ways.

We've played a show, we've suffered through some sort of horrendous.

Sound check with a drummer pounding one drum for 20 minutes.

For what reason?

I don't know.

yeah, so you gotta keep yourself out there, no matter how tired you are.

Yeah.

Yeah.

And, and I think just from my side of it too, I've always appreciated that about,

about you guys, about other artists who you make yourselves approachable.

Right?

You guys are approachable.

And, and we can, we can hang out after the show and visit

with you for a little bit and.

You know, and I, I, there was, there's been a couple of those artists, even

this year I've, I've done that and I'll hang out afterward, chit chat

with the guys and, and it's a fun time, you know, and, and it, you kind of

walk away just going, you know, gosh, I, I respect that band even more now.

You know?

And there's been the opposite, right?

Where you've gotten

big, maybe that you can't, I get it if you've gotten too big.

But there's also the guys that aren't too big that.

Do have sort of, you've put yourself on a pedestal and you refuse to

actually take time for your fans and, and it's disheartening, right?

For your fans to kind of finally get to meet you or find, you know, and it's not

at all, which you thought it was gonna be maybe at a bad night once in a while, but

when it's consistent like that, you know?

because you're gonna be disappointed.

You know, it's, that's the problem because

Yeah.

Yeah.

up in a certain degree and you catch 'em on a bad night or a bad day, or

catch me in a bad mood on Facebook and suddenly I'm getting blocked.

So it's like

Yeah.

Got these things now called meet and greets, which when they first

first heard that, because we always meet and greet afterwards.

So people that.

We, we don't do our own meet and greet.

Our meet and greet basically is the promoter wants to

have a meet and greet and.

He's pocketing the money to pay us.

So the same people that's paying for these $50 meet and greets or whatever

they cost could actually save the $50 and see us afterwards and just give us

the $50 we're gonna meet and greet you.

Yeah.

you know, one, one event.

We, we did this meet and greet.

There was like a hundred people there.

then the next day we showed up for, for it was a festival and showed up

again and we're at our MER merchandise table and 200 people line up.

to talk to us.

And we talked to every single one of them, every

Yeah.

and, know, some of them were the same people that paid for the meet and greet.

So I don't know who started

Yeah.

that's a, it's a

thing.

Hmm.

Yeah.

Yeah.

Yeah.

It's been pretty popular, right?

We've, we've, we've, we've certainly on the fan side, right, we certainly

love that opportunity, you know, but do believe, right, again,

being able to hang out after the show and visit unscripted, right?

You're not rushed, you don't have a timeline.

It's not step and repeat these kinds of things.

That, that's what kind of makes it hard.

Yeah.

Well, okay, so money aside, what, what keeps you creating and,

and pushing forward even when the business side gets tough?

I just have a lot of creativity, a lot of imagination.

I don't.

I necessarily sit down and just write songs now.

I'll wait until Troy me some music and then I'll write the song around the music.

'cause I've got a, career I'm pursuing as well.

So in a day's time, I'll write 10, 15,000 words for stories that I'm, I'm building

and novels or short stories and such.

I'm not really writing, like I used to, I used to have just notepads full of lyrics.

So I could just go through 'em and say, Hey, these fit, let's

do the this, do these and then make your changes or whatever.

I think just for me, being creative is just a built-in God, know God gift thing.

You know, it's a talent, where I can come up with stories or come up with songs or

come up with themes and plots and stuff.

Yeah, it's, I don't know what it would be like to be someone

without any imagination.

It would be a, my world would be very sad, so.

Yeah.

Yeah.

All right.

Okay, fun story.

I, I heard, I heard a story.

I'm gonna let you share what you want to share, but something to do

about, let's call it, uh, your wildest stage moments that maybe worked out

or maybe didn't so much work out, antics on stage and things like that.

You got, you got any, anything juicy for us?

I was touring with Stryper we were somewhere out west, like

all bands are out west somewhere.

And didn't realize the stage was super high.

It was like four foot, five foot high, maybe five foot high.

And Striper had the road cases pushed together at the front

of the stage, and they had.

on these road cases.

So I thought it was an invitation to go out onto the road case and stand next

to the monitor like Bruce Dickinson was.

You know, you put your foot up and you do your rockstar pose.

the road cases, the wheels weren't locked, so it went like this and I

went straight down onto the ground.

didn't land on the ground though.

I used the microphone stand and saved my fall and it bent.

stand in a perfect U shape where I fell, so that that was

one incident that was somewhat.

I know.

I just thought somebody would surely say those wheels aren't

locked, don't be on them.

they didn't.

And the, the another

Right, right.

the arenas and halls and gymnasium, so I would find stuff to hang onto

and just, you know, at the time I was quite athletic, so I would just

work my way, all the way around the room if I had a railing to do so.

he was at this really nice theater playing and, they, they had all this

cool sconce stuff and lion heads and all this, but there it was a railing.

So I took it as an invitation that I can do my stunt, I'm just gonna

use my hands and I'll be over top of the audience and all this.

And when I went to get back up, I kicked a hole in one of these fancy facade things.

He's.

Faces so that that was, that was quite costly.

I still remember, remember I think it was three or $400 we had to pay

the bill for that.

a building.

now I don't, so I don't so much do

you know, no stage diving, no jumping

no work climbing around.

I, I fell in the yard about three weeks ago, landed on the concrete

and, and bruised up my ribs real bad.

So it's like, this is a th third week, and sometimes if

I sneeze, I can still feel it.

So yeah, I'm, I'm like that old dog, you know, it's like, terrible.

You have to put me down or something if I

Those, those days are over.

Those days are over.

Huh.

And have somebody check that the wheels are locked from now on, you know?

I'm sure.

That's funny.

Well, so hopefully hopefully more stories ahead of you that

are safer coming down the line.

You guys got some years ahead of you and, and so speaking of more, you guys

just released a new album, is that right?

released the Vipers and Shadows where only band crazy enough.

To release a double album these days.

So we released a double

Here you go.

into because then we released lost Reels four with 10 more songs on it that we

had considered for, for the and Shadows.

So that was, yeah, that, that turned out good.

We didn't go through any label with that one.

We sold it ourself and, once it is gone, it is gone.

We won't, we're not printing anymore, so.

Once and it's almost gone.

I think it will be depleted maybe even by the end of the year.

'cause we have so many shows coming up.

That's great.

Are you guys where, in what ways did you release that?

Where can people get it?

through our fan base.

And it's of course advertising.

And I www.Bridepub.com, and we've got it on there.

That's the best way to make sure that we get the money.

You know, you send it directly to the band and, and we get the money.

Otherwise we don't get any money.

we've sold some to other distributors at a discount price and they're, they're.

know, they've got it out there.

We've put onto the streaming services but we didn't advertise it

outside of our fan base, so, we just

Okay

so it's, and again,

great.

too

offered by a couple of labels, we, if we had take, taken their deals,

that would've been really bad.

But we've made more money selling it ourself, using our contacts

than we could have with a label.

And then over time, the labels might

There you

rights and

go.

money, you know, if

turns out they can sell 'em.

But in this, in this day and time, in this style of music that we do,

and the, in the genre and, you know, having the Christian Rock label, you're

just not selling a lot of records.

Not, not like the old days.

Sure.

Sure.

okay.

What else are you up to?

It looks like you're not slowing down, not doing just music.

Is that right?

I've just released a few albums.

The World Will Burn.

It's a new album coming out.

band used to be called s Swingle and Thompson Ordained.

Now they're called Ordained Only.

And I just had a new album come out.

None of this world just had a new album come out featuring me.

We are resolute.

So that's four albums outside of Broad that just came out.

there's some more stuff down the, the pike.

A guy sent me a, a song to listen to today and I forgot all

about that I had recorded it.

I'm just like, wow, man, this guy's really mixed this nice.

So it's, I, not gonna say who it is, but anyway he's, he does things on his

own time, but it's, it'll be coming out.

But, I was writing stories before I ever started writing songs, at about five years

old I wrote my first story called Silver Horse and it was, or Silver Star, and

it was just about a horse and whatever a 5-year-old would think about horses.

very short story, but at least I got got something going.

And I think I was inspired because my dad showed me some poetry that

he had written in, high school.

And and so my dad, my dad, you wouldn't know it, but he's very super creative guy.

So I think getting some of that from him.

And then my mom's written a book, so I guess both of 'em have a lot of

creative talents that he just never tapped into trying to raise Troy in me.

But I'm a, I'm an author.

I started off writing short horror stories and submitting them to different

podcasts and one podcast that I won't mention their name because they're on

the outs with me, or I'm on the outs with them either or, but they, they read

about 50 or 60 of my stories on there.

The stories take 45 minutes to read, you know, about 5,000 words.

So that, that got me like thinking, well, if they think they're good enough

to, to be reading on, on a podcast, then yeah, maybe I should try to get

a book deal, but I didn't have any.

I, I've got some books I've written years ago, but they're not edited.

So I just sat down and was like, you know, I'll put these short stories together

and we'll compile 'em, well Velos books.

I reached out to them, oddly enough, they, they're, they only do horror,

and they got lots of authors and oddly enough he knew who I was.

He goes, oh, I got snakes in the playground.

I'm like.

Wow, what a coincidence.

I signed a three book deal with him.

The Terrify, so it's three of short stories, each book's about 250

pages long, 13, 14 stories per book.

And then he reached out and said you, you've.

If you're doing novels too, right?

And I said, yeah, but they're a bit more sci-fi ish.

You know, I've got books, but you know, they're I've gotta go

through 'em and edit 'em and stuff.

And, and he was interested.

So now I've signed a three book deal of novels.

obsidian, signal has just came out, so you can, you can get that.

then there was, I can't remember the second one.

One that I'm most excited about is, a testament of Rust, which is book about a

dystopian world this, this group of people have been silenced by the government and

they're doing everything they can to bring revival to a very secular, socialistic

society that's been militarized.

so it, it takes, it takes a lot of different turns and twists.

It's, it was my attempt at writing a thriller.

That's what these books were basically written, written for, is to be

thrillers to compete in that market.

but that book Testament of Russ will be out in December.

So that is the one I'm pushing really hard for my, my audience because

they, you know, they might read.

You know, more of a mainstream books or whatever.

But the Obsidian Signal, which was the first book it's out now

is, is more of a, a secular book.

But it deals with espionage and military stuff.

But it doesn't have a, a Christian theme to it.

anybody's interested, I would suggest a December pickup, a testament of rust.

And then oddly, I just signed a, with the same company of three more books.

So in this period of time

Wow.

like

contracts for different books.

So the, the next one will be the, the second part of my short story horror.

Which I'll, I'll always use that as like being as wise as a serpent, as

harmless as a dove, because I always mention Christian themes in it, even

though it's not a Christian per se.

The, these, these horror stories.

So if somebody's reading it that they'll get the message that, that Christ is

Lord, you know, God's still on the throne and all this terrible, scary stuff I'm

writing about gets beat in the end.

So it's, and then there's the three sci-fi books that are gonna come out next year.

So, so I, yeah, I mean, just this morning I finished up another Christian oriented,

novel and it's called Testament of Ash, so it'll be to go with a testament rust.

So anyway and I've got another one planned once I do all my running around that I've

gotta do for the next couple of days.

And I'm just right.

You know, I get up in the morning and I write, first thing I do, I

take my dogs for a nice long walk, about 5 30, 6 o'clock in the morning.

come back in, the dogs are tired, they wanna lay down, they lay

behind me here and watch me write, then I just write until.

I just realized the day's gotten away from me and I haven't

eaten breakfast or lunch, so

How fun.

Well you got as my mama would say, you got no grass growing under your feet.

Sounds like

funny.

Yeah.

I

Yeah.

Yeah.

That's awesome.

That's awesome.

All right, we are gonna dive into this next section real quick.

We've got Dale Thompson of Bride in the House.

This has been a blast.

But before I let you go, we're gonna crank it up and we are gonna hit,

we'll call it the lightning round.

And we call this section Final Rifts.

Short questions, got answers.

You ready to roll?

Alright.

First question, who was your biggest musical influence growing up?

Yeah.

Your dad.

a

What's a non-music hobby?

Alright.

What's a non-music hobby or passion of yours?

already know.

but I guess I would usually working out when I'm healthier, so, yeah.

That's good.

Coffee, tea, or something stronger.

black Strong.

Black Trophy strong.

What pest do you have and what's their names?

Roscoe and Dio.

They are Fox

What kind of dogs,

or Yeah, Fox Terriers.

They're the Shorthaired ones, not the Wired hair.

Terriers.

right?

What band or artist will you never get tired of listening to?

probably I would have to say oh shoot.

There are on the tip of my tongue Gras Ross, ice Icelandic band.

Right.

If you weren't doing music, what would you be doing instead?

Most likely work in construction.

Yeah, that's what, that's what I grew up doing.

And, you know, I would, I would be either a builder or plumber or whatever.

Yep.

Yep.

That's great.

Alright guys, huge thank you to Dale for being on Backstage Money

and for everyone listening, this podcast is about more than stories.

It's about building a community of musicians who take control of

both their art and their money.

So if you'd like to learn how to do that yourself, I put together a free ebook.

It's called A Musicians Guide to Infinite Banking.

Head on over to 1024wealth.com/music and grab your copy.

It's my way of helping you start changing the way you think about

your finances and your future.

Thanks for tuning in to Backstage Money.

If you enjoyed today's episode, hit subscribe on your favorite podcast

app and share this with another musician who needs to hear it.

I'll be back next time with more real world stories and strategies from

behind the scenes of music and money.

Until then, keep your money and your music working for you.

Thanks, Dale.