On Self-Signed Artist, we normally focus on all things non-label. However, that may be doing you a disservice. Working with an independent record label can be a great way to get some guidance with your next release.
In this episode, we talk with the founder of Funnybone Records, Dylan Healy, about how hands-on (or hands-off) a record label should be, and how the artist-label relationship should be treated like a collaboration.
KOBY: [00:00:00] How’s it going? Everybody. I’m Koby Nelson. I’m here with my cohost Jake Mannix.
JAKE: [00:00:04] Hello, hello.
KOBY: [00:00:05] And today we’re joined by another great guest. He’s the head of Funnybone Records, an artist himself, and just an all-around great advocate for musicians and creatives in general.
Dylan Healey. Welcome to the podcast, Dylan.
DYLAN: [00:00:21] thanks so much for having me happy to be here.
KOBY: [00:00:23] Thank you. It’s great to have you here. so I came across Funnybone Records about, maybe a month or two ago, and kind of in like a bunch of different places all at once. I want to say the first place I saw it was on Instagram, maybe in like one of the suggested accounts or whatever it is. And, Then, actually through CTverses, which for those who don’t know as a blog, an awesome blog that we have here in Connecticut, that kind of Covers music, across the state. and, and right away, when I, when I heard about Funnybone, I was intrigued because I actually knew quite a few of the names on the roster from our area around Hartford already.
Zander’s being one of the big ones, of course, in the area. Chad Browne-Springer, Pearl Sugar. You have a very cool roster of musicians, on the label. and up until that point, I didn’t, I didn’t know who was behind the curtain. I hadn’t heard your name yet. and it was a little while later that I learned that you were the guy and, that you were somebody that we should talk to is actually through a mutual friend of ours.
Carl Bespolka, shout out Carl. Yeah. He recommended that we should have yeah. On the podcast and, and talk about, about some of this. And I thought, I thought that was a great idea and I was glad he, he recommended that because I think you really embodied it, see what this whole podcast is really all about.
so to get us started, let’s just talk a little bit about Funnybone. can you give us a quick kind of rundown. Of what funny bone records is and kind of what it’s all about.
DYLAN: [00:02:02] yeah, for sure. it is an independent record label for independent artists and rising artists who are looking for a support, a supportive platform to just help them. Launch their careers as musicians, and some of them are coming without ever releasing, any record before or song before it’s kind of their debut.
Some of them have a whole discography behind them and are kind of just looking for teaming up with somebody to help them release. but it is much more than just distribution and publicity. I try to do as much booking as I can, and kind of just help them. Garner community, I guess. And, meet new people, meet new artists, connect with just kind of anybody that might help them along their way to.
so it is this growing network of musicians and, and even visual artists. Send filmmakers and it’s, it’s been really neat to kind of just see how many different types of talents in the arts there are even just in our state. it’s, it’s pretty limitless, which is really neat. And yeah, it’s, it’s been a really organic kind of way of, of meeting new artists and taking on new projects and, it’s, it’s been really cool to kind of even trace.
You know, this artist that heard of us through this artist that we booked a year ago, you know, and it’s, it’s kind of just in any chain of reaction almost.
KOBY: [00:03:32] Yeah. And it seems like you serve a, a very wide variety of artists and genres and styles, and you mentioned like filmmakers and visual artists and things like that too, that are kind of connected to the label. and one thing I thought was pretty cool on your website. You, you, you describe it as leaning on.
the more experimental fringes, I love. I love that wording. and I don’t know a lot of the time, I think you see labels that focus really, really heavily on one specific genre or even a really, really narrow sub genre. And I mean, that’s even something we’ve talked about in this podcast before, like niching down.
It doesn’t really seem like funnybone necessarily has a narrow niche like that. Does the diverse roster just kind of reflect your own like wide range and taste of music or is there some other thought process behind
DYLAN: [00:04:28] No, I think that kind of sums it up, honestly. Um, like you said, some labels are really good at finding their sound, a band you’re a label like saddle Creek, for instance, or keeled scales. Just have a really good. Grasp on like Americana and contemporary full Quintin rock. but yeah, I think it is kind of a reflection of just my wider music tastes.
And at the end of the day, it, it kinda just boils down to how much I love the music and how much I’ll be able to advocate for it and be passionate about it. and yeah, it I’m somebody who can’t really. Separate like business. Yes. From the emotional aspect of music where I just couldn’t, you know, support or work with stuff that I don’t truly genuinely like and what listened to on my own.
And I think that would show, you know, I wouldn’t be able to put everything that I have into it. so, and yeah, just as somebody who listens to a lot of different types of music, it’s been so neat. Seeing how much of that exists in just one state and, it’s yeah, it’s, it’s really amazing. Just how many different backgrounds of styles and techniques and composition people are able to produce from, you know, the same area.
It’s really cool.
KOBY: [00:05:54] right. Yeah. I mean, I think one of the things that’s really interesting about it and all the artists that you support is that it doesn’t fit into one specific genre or anything like that. But at the same time, it doesn’t feel like they’re disconnected. Like it, it, they, they go together in some way that I have a hard time putting my finger on.
is there something that you can kind of like pinpoint, as like a, something that all funnybone artists have in common as like the core of funny bone?
DYLAN: [00:06:28] Like it might sound cheesy, but just that they’re like really good people, you know, that’s something that is just really important to me, through any kind of business that, you know, why work with bad people, you know? and there’s just no need to. and I, and I really think that that.
That reflects in their own music. it may be in vague ways that you can’t pinpoint, but a lot of it comes from empathy and compassion and passion. And I think it really shows in all of their work as many different sounds and production methods as they have, and the different kinds of, you know, lyrical content and different genres.
Somehow I think that all kind of shines through.
KOBY: [00:07:12] Yeah, I, I think so too. I think, I mean, a lot of the artists that you work with are from Connecticut or. At least have spent a decent amount of time in Connecticut in the general area. and I think you definitely have a reputation for supporting music from this state and being a part of building a community around here.
at the same time, you also, it goes further than that too. It’s not just a community of people in the state. You also work with artists from. All over the country and even international artists, like we were, we were talking a little bit before we started the show Argentina, for example. Um, and then you have artists from upstate New York.
Shout out Jake Mannix from upstate New York, not, not a funny bone artist, but from that area, uh, you got Philly. I think you have some from California. If
DYLAN: [00:08:02] San Jose. San Jose. Yeah.
KOBY: [00:08:04] Yeah. So what kind of value do you think that adds to the label as a whole and the community as a whole as well? Just having people from all over the place.
DYLAN: [00:08:15] Yeah. I mean, I think it really creates a really big ripple effect too. in that we can kind of any artist, whether they are just moving to a new place or have always been based out of there, it’s kind of just allowing the community to grow larger and larger and expand. and one of the artists on the roster who goes by the name Neve just moved from Hartford, actually this very house that I’m in right now to New York.
and just something beautiful that they said to me was that they will be taking funnybone with them to New York, just that they will be, you know, still on the roster, despite leaving the state. And, and as they kind of meet new people and have write new music and. Kind of just expand their own artistry that they’ll, you know, know that they have funny bone on their back and I’ll know that I, you know, can still, we can still make stuff happen just even remotely, you know, or even not being face to face or an hour specific case as roommates.
but yeah, it’s beautiful thing. Um, cause I never want to. Limit anybody by geographical location. so I, I really am somebody who advocates for. You know, even, even as a label, like I don’t create any kind of exclusivity with anybody or any contractual obligations that, that keep people from, you know, doing what their heart desires.
and I, I say this, as I say this about Connecticut, and I’ll say this about funnybone that the hope is to be a springboard towards larger things. Um, I w I never want any artist to feel limited, you know, based on where they are or who they’re working with. so
KOBY: [00:10:01] that’s that idea that, of location and, and springboarding onto other locations and things like that. That’s something that we’ve talked about a couple of episodes ago, we were talking about location and whether or not being in a music hub.
City is important or necessary, or really even a benefit anymore for an artist. And I mean, in that episode, I mean, I kind of regretted it afterwards. In that episode, I was kind of lamenting that, that Hartford area sometimes doesn’t feel all that entrepreneurial. Like I was saying, we have a bunch of insurance companies and some manufacturers that’s like what the bulk of people are, are doing work quiet.
And a lot of the times I kind of fall in the trap of feeling like I’m. Out there on my own, in a creative space. I think a lot of other people do as well. Like no matter where they live, even outside of Connecticut, but I’m always reminded again and again, of people like you, people, people like CT versus artists and bands that have come out of here that are still around here.
All these venues that have popped up all over. So I’m curious to know what are your general feelings about Connecticut as a place to, if not make your whole music career to, as a place to start a music career. So like, can you give us the pitch for Connecticut?
DYLAN: [00:11:18] Yeah. it’s funny. I think, you know, the pitch that I might have made five years ago versus the pitch that I might have made two years ago versus today would honestly be really different. in the past five years it’s been. Amazing to see how many different types of ventures have been popping up in the arts, through venues, like you said, or, through coffee shops that are centered or, you know, just through different types of, of places in, in ideas is that our arts forward, and.
I dunno, some of my favorite things are just the different kinds of like house venues that were coming up. And I had a hand and, and putting together, a venue in the North end of Hartford called warehouse, um, which was a blast. And we got to do so many different types of events and shows for two years.
And unfortunately, we had to close because of COVID a few months ago, which was. It was heartbreaking. It, it felt like way too soon. You know, we saw it so many ideas and so many things that we wanted to do. and I’m hoping that, you know, it can come back, but it’s, it’s not easy that, you know, to pitch Connecticut as a, as an entrepreneurial place, You know, I would be lying if I said it was super easy and super possible. but luckily that there are so many people who have these diseases hires to experience these things and enjoy these things that people are setting up that, you know, this, the supply and demand is, is a pretty healthy balance, I think.
and sometimes it just, you know, literally the government gets in the way or things like, or things like money get in the way and then prevent them. But at the end, same time on the other side of the coin, I also then start to wonder about saturation, and. I dunno, it can be a tricky conversation because everybody has every right to pursue a passion and a creative, you know, idea.
but when everybody is suddenly, hosting house shows every single weekend, When the supply is too abundant, it, then I think starts to hurt each other. And not even out of competition, not even like, you know, it’s, it’s intended to be competition, but I think. The people who want to then go out and experience these things are actually overwhelmed.
And they are like, wow, there are five concerts that I want to go to today. How am I going to choose? And then they end up not going to anything. Um, and I’ve seen that a lot and I’ve been guilty of that, myself of just having too many options and then not picking a single one. So the pandemic obviously like kind of threw everything for a loop and I, you know, pretty much everything like that’s on hold right now.
so maybe when we kind of start building things back up. It, it might kind of feel like we’re starting from scratch again. but I dunno for the past few years, it’s been really beautiful to see how many different types of everything that there is. there, you know, plugging things like Ashlyn magazine, which is, A, magazine startup by, a photo journalist named Jasmine Jones and sh the community that she has built and the types of artists that she has showcased and the ag, the advocacy that she has done.
Is so impressive in seemingly unprecedented for some kind of startup, at least in magazine form in the state. there are so many talented people here and they all deserve the recognition and, and it’s it’s yeah, wonderful that even guys like you were doing podcasts like this to, to, you know, help people share their story and, and showcase different types of creatives.
KOBY: [00:15:09] Yeah, I’m glad you brought up. we brought up a, a couple of minutes ago too, even about, saturation. That’s something that we’ve talked about a little bit. On on this show too, from an artist perspective as well. So you’re, you’re talking about, there being tons of shows out there that you can go to tons of resources and that it can be overwhelming for an audience member, a show goer.
Okay. but I think the same is also true for even an individual. Artists too. Like if you’re, there’s something to be said for having a tight community and a following in a community, but I think it’s a lot of people fall in the trap of saturating their own market in an area by having, you know, a show every single weekend.
And then if you’re, if you’re playing a show every single weekend in your town and you’re expecting all the same people to come out to that that can be another potential issue.
DYLAN: [00:16:01] definitely. Definitely. Yeah. Yeah. I’m, I’m curious to see how. You know how venue culture will be like when we start having shows again. Cause I know people are obviously going to be so excited to be back and to be in, to be playing shows and to be going to show us. So we might go like full force right off the bat.
KOBY: [00:16:21] yeah. I mean, I think that that’ll be the natural way to, well, I guess it depends on how quickly things are able to open up, but if it’s able, if it’s like a, like right off the line thing where everything can open up all at once, I think we probably will see that, but that’ll probably be a, Healthy thing for everybody to get kind of back in the swing of things, because everybody’s been so frustrated for the past year. so have you lived in Connecticut, your whole life? Is, are you, are you originally from Connecticut?
DYLAN: [00:16:49] I grew up in West Hartford. so yeah, I’ve lived here my whole life and then I went to university of Hartford and then moved to Hartford. So my life has been Hartford, Hartford, Hartford, um, which has been wonderful. And honestly, the arts community here. And my family are what, what keeps me here. I’ve been so fulfilled just by everybody that I’ve met and just all of the opportunities that I honestly never thought would come in in the city, just growing up here.
I was not tapped into, even in high school. I wasn’t tapped into the arts community here. I had no idea, if it was flourishing or in what way is, But yeah, as soon as I graduated from U heart, I just started kind of opening my eyes to it more and being a little more willing to go out to places like art street or real art ways.
and just starting to see like, Oh my God, people are really not only into this, but really good at putting it on and really good at having shows. And you know, it, it was a really cool thing and that’s definitely kept me here cause. right now or before COVID it felt like Hartford had everything that I wanted in a city.
New York, New York always felt way too overwhelming for me personally. despite having, you know, all of the things that I wanted in a city, but yeah, Hartford just really, felt like the perfect medium.
KOBY: [00:18:11] so you mentioned just now that you, you really got started in the arts community after college, but you did go, you went to school for, music management,
DYLAN: [00:18:23] I actually majored in psychology, but minored in performing arts management. Yeah. so most of my college experience was in the psych department kind of doing research and, stuff like that. And then, halfway through, I discovered the Pam program and that. Like turn my world right side up. Um, where I finally found, you know, like found what I wanted to do.
and. Got SU as involved as I could with music in college. And, immediately, you know, tried to find as many musicians as I could. And we put on, you know, concerts and all that good stuff. And I was music director of the radio station there. Um, and we put on festivals and I tried to really maximize, you know, what we could do with.
College and what we could do with the resources that came with it. but even like, even that felt so exciting, but little did I realize that it was just kind of like the first layer of things, at least in that area. and as soon as I graduated and, you know, moved off campus and started living in Hartford, my eyes like really open to everything out there.
KOBY: [00:19:32] So when did that, when did the seed of an idea. To start an independent record label really start. Was that in college or was that afterwards?
DYLAN: [00:19:40] I think around when I was graduating, I started obviously having all of these, like. Existential crises and wondering what, what the heck am I going to do when I graduate? and knowing that there weren’t, there wasn’t anything like that in Hartford. I guess that’s when the idea started to kind of form.
and after a really amazing internship, with a record label called Badabing records in New York, and kind of seeing how much they were able to accomplish with such a small team, it. It kind of paved the precedent for what I thought I could maybe accomplish here too. and right around that time, one of my friends, Ashley LaRosa, who releases under the name figurine was preparing her first album for release and it all kind of just aligned.
And in parallel, we were kind of just like, you want to do this together. And we decided to, and we kind of. Marked that as funnybone’s first release and, you know, treated it like a trial, like, we’ll see how this goes, but it went great. And I’m super happy with kind of just like how everything is really organically happened since then.
And just the natural way that I’ve been meeting artists or being recommended artists or artist have been reaching out. it’s a really nice mix of all of that. Yeah.
KOBY: [00:21:00] that’s, that’s a really cool or get very organic start. To the whole thing. So were you, I know now you are also an artist yourself, and you’re releasing music under the name stadia, is that that’s correct. Right. So did that start before or after the record label was a lot of people, I feel like when they come into the music industry come into it from the artist side, like that’s the part that comes first.
So is that the case for you as well?
DYLAN: [00:21:26] I I’ve been making music really since I was very young. so I’ve been a musician my whole life and a songwriter my whole life. but. I didn’t really form or I didn’t start releasing under that specific name stadia until this year. Um, when I put out a newer release, I had always just gone by my name before, so it was nothing special.
But, yeah, I had been working on a record for a bit. and after months of playing D and D under the character named stadia, I was ready. I was ready to release this record and then my character died in the campaign and I was so mourning over it. And in such grief over that character that I decided to immortalize them and start releasing music under that name. I’m serious.
so yeah, that, that moniker didn’t come until recently, but songwriting has always been in my blood and I’ve been doing that since I was younger. and that too is something that I’ve, now feel, felt really comfortable too. Keep separate from the record label. I haven’t really mixed them nor did I want to, um, I didn’t release the record under funny bone records.
I kind of just like kept them separately that especially, that’s why I did it under a different name than my own. and I don’t know, it, it just felt like the right thing to do. they, they come from different places of my heart and just, you know, I didn’t really see a reason to kind of mix them, I guess.
KOBY: [00:23:00] gotcha. That was going to be my next question. Why, why stadia? Wasn’t part of the roster. I mean, for us, that’s like the epitome of a self signed artist, right? Like you’re you could literally be. Signed to your own, to your own record label, but that makes total sense to kind of keep those two, those two passions separate.
DYLAN: [00:23:20] Yeah. Yeah, they exactly, it’s just, they, they operate in different parts of my, of my head and, with it, I don’t know. I, the stadia project is just something that will always kind of exist. but not with any. you know, hard deadlines or expectations, it’s kind of just like at my own free will, which is really nice.
KOBY: [00:23:40] how does that kind of idea relate to your sort of philosophy on like the role of a label in the creative process for an artist? Like how how hands on or hands off do you think a label should be in the creative process
JAKE: [00:23:56] for an artist
DYLAN: [00:23:57] honestly, that’s a great question. And, and I, I actually use that phrasing a lot where. My answer is that I think they should be as hands on or hands off as the artist wants and needs them to be. Some artists are completely capable of doing a to Z or a to Y and just need the Z. and some of them need it, a help every step of the way, and from, you know, from the song writing to the studio process, to et cetera, et cetera.
and it’s been a really amazing experience. Seeing how every relationship with an artist is completely different. Um, nothing is formulaic, nothing is the same. It’s every single thing is different. I, as I think it should be because everybody has different needs. Everybody has different expectations and desires and resources that they’re seeking and capabilities, you know, I could go on.
and it’s, it’s been mutually beneficial because I’ve been on. Able to be let into these processes, which I take so seriously in sacredly, and have been able to really gain skills and kind of every step along the way, which has been really neat. Um, then, you know, that’s experienced that I haven’t, and didn’t get an education.
and it’s been really cool to kind of just get that in the real world. But yeah, I think some labels over insert themselves and kind of hinder the creative process by often, instilling hard deadlines or expectations or censorship, creative censorship. and I have no interest in doing that nor do I, you know, ever.
Seek ownership of any of the artist’s work. I will never own a master in my life because I just don’t need to, and don’t want to, and then have every desire to let the artist maintain every ownership as, you know, as they could. and yeah, I think labels have a. I have a really big responsibility and opportunity to be as helpful and beneficial to an artist as they can without over inserting themselves.
And. Yes, there are so many amazing labels that do that. And then there are some that honestly really hinder their artists. And as I’ve been hearing like it as an artist gets bigger and bigger and works with a bigger and bigger label, it seems like the hindrances grow too. And you know, and artists that comes to mind is, is scissor.
And she is. Always complaining about her label and how they’re hindering her from putting out music. And I’m just like, damn, that must really suck. Like to know that you have this amazing music that you want to drop whenever you want, but you have these, you know, executives as they call themselves, I’m telling you, you can’t do it.
You know, it’s I know that there’s big money in that, but, what’s, what’s the trade off, you know? There isn’t big money in this, but there is creative autonomy.
KOBY: [00:27:00] yeah. So I guess you’re, you’re not considering yourself a record executive in, in your
role. What. What is, what is your normal process with an artist or a band look like for trying to put together a project or, or figure out what is needed for a project that’s specific to that artist? Like how does that actually break down and happen on the ground in real life?
DYLAN: [00:27:26] straight up communication. when I’m working with an artist for the first time, we just spent a lot of time talking and FaceTiming and calling. And when we can meet up in person and kind of just talking about, you know, their record or their single, and just as much as info as they’re willing to provide about it, and kind of just their goals as an artist or their goals with this specific.
Project, what they want from it, and what they need and what they’re capable of doing on their own and what they want help with and kind of literally just tailoring it exactly to their capabilities and their desires. and it, I it’s in my best interest for it to be as collaborative as possible.
because typically these, you know, these are people that we are like almost. We’re friends and coworkers in a sense like an colleagues and it’s sometimes hard it’s, it is possible, but it’s sometimes hard to kind of switch hats. so, you know, since nobody’s paying, hang each other, by the hour, it’s pretty free for him.
And really just out of passion, nobody wants to feel like they’re like on the clock or, or working for each other. We’re just working with each other. So, yeah, it, it’s, it’s really wonderful when, when everyone’s willing to be super collaborative with everything and kind of share the work that needs to go into it.
Um, and sometimes. People are even surprised how much work does go into it. and often when I’ll say things like, okay, so, you know, we have all of our ideas down as we’re now setting up this timeline. you know, we’ll want six weeks to do press reach out X amount of weeks to do this. That that, that, so that brings us to like six months from now of actually releasing the thing.
And they’re like, are you kidding me? I ha I thought we could really solicit in a month.
KOBY: [00:29:19] you mean this isn’t coming out
DYLAN: [00:29:20] so, and that’s the thing it’s yeah. I mean, you can, but that doesn’t give me anything to do. Like if you want to. Like, I, I will always tell this to somebody if you want to release us in a month, go for it. But I’m just like, I’m only going to be able to then do a month’s amount of work and you’re only going to be able to see a month’s amount of outcome.
so yeah, it’s, it’s cool when everyone’s on the same page, I’m always willing to compromise and be flexible. and as we have now, this kind of bigger roster, the, the cycle is it’s pretty much never ending now. And it’s, you know, everyone has. A release set up and then that cycle happens and then they’re ready to do the next thing.
And it’s kind of just like a, you know, it’s always it’s constant, which is great.
KOBY: [00:30:06] It sounds like it’s very, very much need based based on what the artist needs for the particular project. what are some of the things that you find most artists are? And if you can put a, a point on it, what are some of the things that most artists are looking for? Or most artists need the most in a release.
DYLAN: [00:30:27] I guess the press and publicity aspect of it. there aren’t many. Opportunities to receive coverage in the state. I mean, people like CT versus in CT scramble have Lake. Exceeded everyone’s expectations in such a good way. They have really nailed it.
- Yeah, they kind of have set the bar high, honestly.
So these newer artists who are coming in have these expectations, like, Oh, like, heck yeah, I’m going to a hundred percent get this feature on this site. but in reality, you know, CD versus only started up in like may of 2019. So it’s been a year and a half. And CT scramble was doing that before them, but before there wasn’t really anything, You know, the Harvard current doesn’t has like no sense with contemporary music.
and there are new Haven based, stuff that, that is great, but I dunno, it’s, it feels like our own like local coverage has been kind of lacking forever. and, and people like CT versus have really helped that out. but. Yeah. I, I just, I don’t think that topic has been really, I don’t know, prominent in an hour, like DIY scene.
It ends up just being like meme based. Um, like if, if you, if you’re a band has been made a meme, you’ve made it. Um, but yeah, so, you know, that’s just something that I’m always trying to improve on and be able to offer newer opportunities. and it’s been showing results, which has been really good and I’ve.
I feel really proud that I’ve been able to offer some really cool and surprising and unexpected opportunities to some, local artists.
KOBY: [00:32:14] Yeah. say, would you say that’s one of the main roles of the independent record label as an overall thing in the music industry? Or I guess maybe this is an oversized question, but what do you think the main role of an independent label is going forward for the industry as a whole.
DYLAN: [00:32:34] I think thus far the main role has been to simply be a distributor. and I think. If that’s all a record label is willing to be, they are kind of doing a disservice to their artists, it, and like that’s all they have to be because, you know, that’s how they started. but I think given just how many opportunities and resources any record labels can have and how.
You know how they can just be a platform to create community. I see that as a pretty necessary responsibility. and that is always been the driving force for me. and I don’t know, social media is a really weird thing in terms of marketing and it, I don’t like how it feels like the end all be all.
And how I feel like if funny bone, let’s say didn’t have an Instagram, then funny bone wouldn’t exist, quote, on quote unquote for people who aren’t watching. Um, and it’s weird because I then at the same time, see labels who only exist on Instagram, They call themselves record labels and they have an Instagram account and they post pictures of artists, but that’s it.
And I don’t know, then I just like, without trying to be over critical, I’m just asking myself, like, what, what is it that they are trying to accomplish and in what, what can they say they are doing? If not just like being a social media account? so I dunno to me, it goes hand in hand with community. If you are, if your goal is to get a group of artists together in one figurative or physical space, Like that is a gift to get them all together, not to them necessarily, but like, To the universe to have these unique group of individuals or bands, you know, in one place that’s, that’s rare and should be taken seriously.
And, I don’t know. I don’t, I don’t mess around with that stuff or take it lightly. It’s, you know, I don’t know.
KOBY: [00:34:39] It sounds like you have a very well rounded picture of, what that should look like. It’s kind of interesting. Cause I think like going back to what you said about distribution, where there are some labels who only focus on distribution, I think that sometimes gets taken even to a further extreme where there are some labels who only focus on distribution of like, Niche things like they only really, their only role is to distribute cassettes or vinyl.
And like the rest of it is just kind of, not part of the label. Like it’s really like a record label where it’s just. The label you put on the physical copy and that’s like the whole role that they fill. So I think it’s really cool that you’re, you’re really working with artists, trying to help them create a strategy, talking about what their goals are, what their needs are and what they’re trying to do with their art.
I think that’s one of the things that I think is really, really cool about funnybone is it’s very much an art focused. Label.
So I think that’s really, really, really cool. And I congratulate you on all the stuff that you’ve been able to, to do, on that front, in our
DYLAN: [00:35:47] Thank you so much. That means a lot.
KOBY: [00:35:48] Yeah. So for, for all the artists out there listening, like we’ve talked a little bit, maybe about some of the mistakes that some record labels can kind of make if they get too laser focused and things like that.
Are there any big mistakes or big misconceptions that you see. When it comes to building a career in music that, that a lot of artists have or traps that they sort of fall into, that we can kind of debunk,
DYLAN: [00:36:12] I think the concept of instant gratification comes to mind where. You know, some artists just simply want to put the music out and want people to hear it. and aren’t as interested in the actual process of putting it out and the strategy that goes beyond it. So I have run into cases where it’s been tricky, kind of seeing eye to eye on it.
because they’re like, you know, I want this to come out in a month’s time. and they’ll, you know, sometimes I’ll even have a date in mind that holds like sentimental value or like it is significant. and yeah, it can get tricky, or. So long will pass before a record is released that they’re like, these songs don’t even mean anything to me anymore.
I just want to put them out. and sometimes that can get discouraging from a label side. when I hear that. You know, these, these songs don’t matter to the artists and they’re kind of just like doing it to do it. And I’m like, well, I don’t want to just do it to do it. Like, why are we going to devote our energy and resources to something that you don’t even care about anymore?
You know? So that that’s happened. so yeah, I think just the instant gratification of it, or on the other side, when things take too long that they don’t. Really care about it anymore. it’s hard finding that, that sweet spot and that, that medium. Yeah.
KOBY: [00:37:37] what’s one of the tricky things. I think about the, just the way the industry works these days, where like it’s physically possible to make something and then same day release it. Like you, you could.
Do that if you want it to, it’s, I don’t know. And, and a lot of the times I think on like the, the top, top tiers of like pop music and stuff like that, it, can kind of make it look like that’s really what happens.
And sometimes it does happen up there where something’s made. And then a week later it’s like, like, I don’t know, a surprise
drop or something like that from an artist. And I, yeah, I can, I can totally see where that would kind of get in the way of. The way, the process really works on the ground. Like you’re, you really have to kind of build up momentum for something and, make sure that you’re set to go.
I mean, that’s something that we talked like in the first episode, I think of this podcast, that, that was kind of one of the main points that we wanted to drive home with this show as a whole, is that it’s not just about. The quality of your music. And I think that’s something that a lot of artists don’t want to hear.
Like, you, you have to have good music. You should want to have great music, but like that step one it’s the things you do after that, that really helped you build a career, the way you set up for people to be able to hear the music, enjoy the music, experience the music, and connect with you.
That’s that’s really what, makes it a fulfilling thing to put music out. so yeah, I think, I think that’s really interesting. I I’m glad you said that. Cause I think that’s really one of the take home messages that we have on this show and something that I think a lot of people need to
so just to, to kind of wrap us up a little bit, where do you think the best place for artists to go would be to connect with? People who can help them in their music, careers, like, like where, where, where do the Dylan Healy’s of the world hangout for people to go and find them?
DYLAN: [00:39:35] I don’t know if I have an answer to that, to be honest. Um, cause I dunno, I’ll admit that I, as somebody who has lived in the same, like area of one state, their whole life, I’m in a bubble, you know, I’m only meeting the people around me. and. I was fortunate enough to do a lot of traveling in the past few months, um, very safely.
And I was able to meet people in States that I had never been to and like, felt like they were so like-minded and felt like I was talking to somebody in Hartford, but I realistically, I was in Lexington, Kentucky, and I could not believe that I was. Having the same kind of conversations I would have with like my roommates here in Hartford.
so the real answer is like they’re everywhere. They really are like the people who want to, who have the best intentions for art in general, and just want to see it thrive and, and want to. Be matchmakers or want to be advocates or just wants to be really passionate listeners. Like, you know, it’s like you and me, like they they’re everywhere.
and I think the people who are. Or on the flip side of that and who are, you know, abusing power or have mal intentions They’re not getting passes there. We’re holding each other accountable. We are kind of calling or calling people out when that needs to happen. And I think we’re kind of just through a natural filter, create eating safe environments and safe spaces for, for everybody.
but in the. In the creative world. we’re, I don’t know. We’re not really letting bad people kind of be a part of the equation anymore.
KOBY: [00:41:20] like on your website? No
DYLAN: [00:41:22] literally I, yeah, seriously, that is, that is the idea. That’s the mantra,
KOBY: [00:41:28] Yeah. Yeah, I’m glad you said that. cause I think a lot of the times people’s go to answer, which isn’t a bad answer by any means it is about community and, and going into your community and finding those people. And I think that’s obviously a great thing to do. You should connect with artists in your area and things like that.
But on top of that, I’m really glad you talked about. People like this are, are everywhere and you just need to explore and have conversations with you could literally be anybody in any location that, you can connect with on a creative level that can lead to something else or not lead to something else lead to inspiration.
It doesn’t have to be collaboration’s or I don’t know, like, like hopping on an independent record label or anything I’m like that, but just talking to. People, wherever, wherever you are about music, letting people know what you’re into, what your tastes are, what you do. I think that’s a really good message and, and, and bigger, I think, than local community, even cause we’re talking about the music community as a whole, which exists all over.
So I think that’s a really, really good point. All right. So we’re just about out of time. I want to thank you so much for taking the time to talk to us, and be here with us and, and drop some, I think really good points on our listeners. so, so everybody who’s listening, go make sure you check out funnybone records, support all their cool artists.
Uh, you can find more information, on the website. Funnybone records.com. And we mentioned Instagram, follow them on Instagram, at funny bone underscore records. and, and Dylan, before we, before we sign off, is there anything that you you’d like to leave our listeners with any take home message or nugget of wisdom or anything you have coming up or, or recently released that you want to let people know
DYLAN: [00:43:26] Sure. Yeah. Um, the, our current project right now is a benefit completion called room for you. And it is a 24 track album, with 24 different artists. And yeah, we are trying to raise $5,000. To, send to three different organizations. One is a Hartford based organization called Kamora is cultural corner and the other are national organizations.
One is the love Flynn, foundation and their therapy fund. And the other is called the. National queer and trans therapists of color network. And the whole idea is to just spread awareness of mental health and, you know, the ability to in a really tough year like this, have people that you can talk to, on a professional level if needed.
So it’s a really awesome release. Uh, we have. A really rare track list of a lot of songs that have never been heard before by some major artists like lady lamb and Malda visa and local artists like, greetings and baby machete and Neve. so yeah, it’s called room for you. It’s out now.
KOBY: [00:44:31] very cool. Where can people go to pick that up?
DYLAN: [00:44:34] Our band camp, funnybone record stop band, camp.com. We’re doing a small run of CDs and it’s on there for digital too. yeah, it’s also on streaming and stuff, but streaming has no help for our fundraising goals. So band camp, the place. Yeah.
KOBY: [00:44:49] Awesome. head over to the band camp, pickup room for you and helps support some awesome causes. so again, don’t thank you so much for being here, and thank you to everybody out there listening, and we’ll catch you on the next episode of self signed artist.
DYLAN: [00:45:06] Awesome. Thanks so much.