Georgia CommonsHouse Economic Development & Tourism Committee
House Economic Development & Tourism Committee, February 19, 2026
2025-2026 Regular Session · 403 CAP · 1 h 29 min
This is a machine transcript of the General Assembly's video, made by a speech-recognition model. It is not an official record and can mishear words, names, and numbers. Speakers are not identified. The video is the record: every timestamp links to the moment it plays.
The video is the General Assembly's, played from its Vimeo channel. Select any time below to play that moment. Watch on the General Assembly's Vimeo channel · Agenda
Summary
Written by an AI model (gpt-6.1-sol) from the transcript. It is not part of the record, and the video is what was said.
The committee approved HB 490, concerning human-trafficking prevention training for lodging businesses, and sent it to the Rules Committee by voice vote. Members paused the meeting to clarify whether training requirements would cover homeowners who manage their own short-term rentals. The discussion ended with agreement that the written exemption addressed that concern, and no amendment was adopted. The committee also heard presentations from music-industry representatives, Trilith Live and Echobase about jobs, manufacturing, venues and tourism. Presenters urged statewide coordination through a music office and renewed music tax incentives. Members discussed competition from other states, music education and connections between music and film work. No vote followed the music presentations.
Bills discussed (1)
Each account covers the stretch of the meeting it names. The bill's number is said in that stretch, unless it was the only bill on a committee's agenda.
HB 490. Crimes and offenses; required human trafficking training program for hotels; provide
From 0:18:03 · turns 3 to 238
The sponsor presented a substitute addressing human-trafficking prevention training. A lodging-industry witness said the latest change included short-term rental platforms in approving training and that the industry's No Room for Trafficking campaign had trained over 2.5 million employees. The witness urged action ahead of the World Cup. Asked who must train, the witness initially said homeowners and expressed hope that training would also reach cleaners and management-company staff. A representative for Airbnb said hosts, not guests, would have the obligation, with training links delivered through platforms. Asked about enforcement, the representative identified the Attorney General's Office and described penalties of $500 for a first violation, $1,000 for a second, and $2,000 and up for subsequent violations. Another committee member challenged that explanation, pointing to an exemption for properties managed directly and exclusively by owners without third-party management. The member supported requiring commercial property managers to train but opposed placing that burden on self-managing homeowners. After a recess and discussion of possible wording changes, the sponsor and member agreed that the existing exemption reflected that intent and that the earlier verbal explanation had caused confusion. No amendment was adopted. The committee passed the bill by voice vote and sent it to Rules; no vote count was stated.
Transcript
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- 0:17:09
Thank you, thank you.
- 0:17:10
I love it.
- 0:17:14
Give it two seconds. Okay. It takes a second. Okay, there we go. All right, ladies and gentlemen, we are gonna go ahead and get started. I know we've got several members that have said that they need to, um, eat. Well, now wait a minute, you didn't tell us about what was going on, so I don't know if we're gonna give you off the pass here, but... No, I'm just kidding. Um, I'm filling in for Chairman Stevens, uh, who had to go to another meeting. Welcome to the Economic Development and Tourism Committee meeting today.
- 0:17:45
Uh, we have one bill on our agenda that we're gonna hear first, and then we have a music industry presentation that I'm very excited about. Um, so, uh, we have enough members here to move forward with our business. And so with that, uh, we have a bill before us, House Bill 490. It's not anything that we haven't, uh, are already aware of. And so I am gonna call on, uh, Representative Bazemore, uh, to present and share, uh, what this bill does, uh, and we'll proceed from there.
- 0:18:18
So Representative Bazemore.
- 0:18:21
Thank you, Mr. Chair. Is it, is it... Uh-huh.
- 0:18:24
Mm-hmm.
- 0:18:24
Thank you, Mr. Chair. And as it has been said, we are looking at, um, HB 490. The LC number is LC48-1766S, as in Sam. And we've talked about this bill for a while, so most of you are already aware of everything this bill does. Um, and it is known as the Georgia Human Trafficking Prevention Training Act. And at this time, instead of going all over everything that we've already discussed, just a few little additions that we added because we worked with every entity that could have had some kind of input or wanted some kind of input so that this bill was strong and it had a lot of teeth.
- 0:19:15
So I'm gonna call on Chris to... Yes, where are you going? I wanna call on Chris so that he can speak, 'cause he's been working hard with, with us and the chairman to make sure this bill is what everybody is, wants, and that we can address human trafficking and identifying it. So if Chris can step up to one of the mics-
- 0:19:37
Yeah, Chris, if-
- 0:19:37
... and just talk
- 0:19:38
... if you'll go to mic 10. Is that 10 right there?
- 0:19:40
Oh, 10. All right. Got it.
- 0:19:42
There you go.
- 0:19:43
Well, thank you, Mr. Chairman. And, uh, um, first and foremost, I wanna thank Representative Bazemore for working tirelessly, not just this year, but the past two years on perfecting the language within this legislation. Um, she alluded a couple of the changes. Uh, I, I think the most, uh, recent change since the last committee, um, meeting was to, uh, ensure that our good friends on the short- short-term rental platforms were also included in the legislation as it relates to approving the training mechanisms that are put into place.
- 0:20:14
So I think that was on line-
- 0:20:16
47
- 0:20:16
... if I remember correctly, uh-
- 0:20:19
I think so
- 0:20:19
... 47.
- 0:20:20
It's 47.
- 0:20:20
Was it 47?
- 0:20:21
Mm-hmm.
- 0:20:21
Line 47.
- 0:20:22
Mm-hmm.
- 0:20:22
Yeah. Page three, line 47. That was the, uh, only change since the last time this committee met. Uh, but, uh, just, uh, um, for points of personal privilege, as an industry, we have made this our, our priority and will continue to make it a priority, uh, throughout the nation. Through our No Room for Trafficking campaign, we've trained over two and a half million employees, and we wanna make sure that every single person that is employed by the lodging industry, no matter what that lodging industry is, are trained in the signs and reasons for human trafficking prevention.
- 0:20:55
It's, uh, necessary, and when we have the World Cup coming in June, we wanna make sure that all five billion people that tune in to watch the World Cup will know that there is no room for trafficking here in the state of Georgia. So thank you, Representative Bazemore, and I would ask for this committee's favorable consideration on House Bill 490.
- 0:21:13
Okay.
- 0:21:13
And happy to entertain any questions.
- 0:21:14
Thank, thank you very much. Representative Bazemore, you had some-
- 0:21:17
And, and I just wanted to add one thing. I know a lot of you are aware of the PSA that I had worked with the First Lady on, and because the World Cup was, um, mentioned just now, and I had ran it in, um, on the House floor so that everybody could, um, ascertain that information and use it. And so we are going to make sure that it i- is running again in the airport and everywhere we can put it. And if you need a copy, please let me know so that we can let people know when they come here, as it was said, we are not tolerating human trafficking.
- 0:21:55
It is not gonna work here in Georgia. So I ask for your favorable consideration and your vote.
- 0:22:04
All right. Thank you. Um, so is there anyone else here in the audience that would like to speak for or against the bill?
- 0:22:16
All right. Hearing none, uh, f- are there any committee members that have any questions or need any clarification on what we're trying to do? Representative Byrd, if you're on number... Okay. Oh, I'm sorry. There we go.
- 0:22:32
Um, yes. Thank you, Mr. Chairman. Um, it's on now? Oh, yes.
- 0:22:36
There you go.
- 0:22:37
Thank you. Thank you, Mr. Chairman. Thank you, Representative. I know that I was in the last committee meeting to have this discussion, so now in this written part is Airbnbs and V- VRBOs. And so just to make sure, who is going to take this training? Is it the owner of the home or the persons that are gonna be inside the home?
- 0:22:57
Those indivi- I'm gonna let him address that because he spoke with them and...
- 0:23:03
Uh, yeah, so, um, in this training, those that would be required would be the, the owners of the home. Um, and we're hopeful that in working with the Criminal Justice Coordinating Council that we'll also be able to provide the training to all third-party employees of not just, uh, hotels, but short-term rentals as well. So think the, uh, cleaning crews that might be coming in or the management companies. Um, the training that we all have, and I, I know our good friends from Airbnb are probably here if, if they wanna speak on this.
- 0:23:25
Right there. Yeah.
- 0:23:26
But we all have different types of training that are specific to the industries in which we represent. So hotel front desk agents might be looking out for different signs than, let's say, a housekeeping crew at a hotel when they go into a room and see what is left behind.
- 0:23:40
Yes, if you'll come and speak to this and, uh, come on mic number 10.
- 0:23:45
You, you wanna give this one?
- 0:23:48
Uh, he's right here. Yeah.
- 0:23:48
I can stay.
- 0:23:49
Yeah.
- 0:23:50
Would you like to do... I can-
- 0:23:51
He... No, he's on.
- 0:23:52
Oh, he's on.
- 0:23:53
Oh.
- 0:23:53
I don't know, man. Uh, thank you ve- very much, Mr. Chairman, members of committee. Thank you, Representative Bazemore, for bringing the bill. My name is Nick Juliano. I'm with Impact Public Affairs. Uh, our firm represents Airbnb. Thank you very much to the author for, uh, working with us on this legislation. As y'all... As has been said, uh, short-term rentals are included in the bill, and the, uh, training obligation rests on the, the hosts.
- 0:24:14
Mm-hmm.
- 0:24:14
So the people who own a home and that are, uh, making their home available for guests on short-term rental platforms. And the, uh, the amendment, uh, to which was referred to earlier, uh, says that representatives from the short-term rental, uh, marketplace or platform, uh, companies, such as our client, Airbnb, would have a seat at the table in the drafting and development of the, uh, training.
- 0:24:37
Okay.
- 0:24:38
Together with GHLA and the, um, and the AG's office.
- 0:24:42
Okay. Thank you.
- 0:24:44
May I have a follow-up, please?
- 0:24:45
Follow-up question, yes.
- 0:24:46
Yes. Thank you. Um, thank you for that. So if I am a VRBO owner, I am gonna be mandated to take this class or your training, and then it is going to be up to me as the owner of the home to then, whoever rents my home, that I will have to tell them what, what they... They have to train the person renting my home. Is that-
- 0:25:08
There is, um... Thank you, Representative, for the question. There is no obligation on a guest for training. So for you as the-
- 0:25:16
Oh, bless you.
- 0:25:16
Bless you.
- 0:25:17
Bless you. Goodness.
- 0:25:18
Sorry.
- 0:25:19
No problem. I gotta use Hanky.
- 0:25:25
Ew.
- 0:25:26
The obligation rests on you as the host, not on the guest. So what would functionally happen is in your, I think you said VRBO. In your VRBO, um, when you log into it, they would push to you the, the training. So you would have that in your inbox. It would be a link for you to click on it, and you would follow the instructions provided.
- 0:25:45
Nick, would you explain, uh, the... There's no... What would be the penalty for a, a property owner, uh, if they were delinquent in the training or-
- 0:25:56
That's right
- 0:25:57
... can you kinda outline that process?
- 0:25:59
Yes, Mr. Chairman. So the penalties are delineated in lines 81, um, through 85 of the bill. So for a first violation, $500. Second violation's 1,000. Third and subsequent violations would be 2,000 and up.
- 0:26:15
Oh, okay. Okay. All right.
- 0:26:18
Sorry for the follow-up. I'm sorry. I have to follow up.
- 0:26:19
One, one more and then I'm gonna move on to Representative Clifton.
- 0:26:21
Okay. Thank you, Mr. Chairman. Um, and just, I know it was discussed the last meeting. Who is going to be responsible for making sure that everyone that you're naming in this bill is going to take this mandated course or training?
- 0:26:39
Thank you, Representative. The, um, the department that's, uh, named in the bill is the, the Office of the Attorney General.
- 0:26:45
I'm sorry?
- 0:26:46
The, it's the Office of the Attorney General.
- 0:26:48
Thank you.
- 0:26:48
Which does have the Sex Trafficking Division that Hannah Palmquist runs, that y'all are very familiar r- It also facilitates the First Lady's GRACE Commission.
- 0:26:56
That's right.
- 0:26:57
And I have spoke with the Attorney General's office, and they said yes, they are in agreement.
- 0:27:02
Hmm.
- 0:27:04
All right. Representative Clifton.
- 0:27:06
So I...
- 0:27:08
Hold on. One more.
- 0:27:09
How about now? There we go. Um, I read this a little differently than what you're saying, and I wanna make sure we're, we're on the same page. So li- starting in line 29, third-party management short-term... I'm not gonna read it. But, um, "A property shall be considered third party managed if services are provided by a management company, rental management service, or other commercial entity operating on behalf of the owner for compensation." And then in the next section at the very end, "This subsection shall not apply to short-term rental properties that are managed directly and exclusively by the property owner without the use of a third party." So if I have a house on Airbnb that I am renting without anyone managing it, I am not required to do this, was what I understa- the way I read this.
- 0:27:53
Is that accurate?
- 0:27:54
Representative, the way that I interpreted this section, and I believe the intent of, of this section, had to deal with somebody who is, um, hosting their home not on a platform.
- 0:28:06
Mm-hmm.
- 0:28:07
Yes.
- 0:28:07
But if you're hosting it on a platform, then the obligations kick in. That, I, I understand- That's correct, yes ... that's the intent of the drafting. Yeah.
- 0:28:13
Okay. Well, then that was not my intent of adding to what I was trying to add to this. I, um, was trying to add that there is a multiple companies in Atlanta that do nothing but manage people's Airbnbs for them. So I could pay a company, a property manager, all these different people, and then they will rent it, they will clean it, they will do everything, and I'm just getting, you know, mailbox money.
- 0:28:34
Right.
- 0:28:35
Um, so the, what I was trying to do in adding language was those entities were going to be required. But if I just have a house and I've got it on Airbnb, putting that burden on a homeowner like that, I, is, I believe is... It's not what people were trying to do putting their house on Airbnb. 'Cause you're asking... You are now essentially with this training asking people to watch their cameras when people check in, look at anything you can see and find. That's, that's, that's not, I don't believe that's the way that this needs to go personally.
- 0:29:05
So- I don't know what we need to do, but my, my attempt was if you hire a property management company or somebody to manage your Airbnb, that company is required to do that, and how they dictate from there is up to them. But a personal own, person owning their home and then essentially checking people as they check in or watching things is, um, I'm not, I, I'm not sure I agree with that. Is there... And I, I guess, uh, maybe I'm just reading this wrong, but I, the way I read this before y'all, y'all started talking was that that's exactly what we had done.
- 0:29:42
Um-
- 0:29:43
Hmm
- 0:29:43
... 'cause it s- it, that we have def- short-term pr- uh, short-terms defined in, uh, starting at Section 29.
- 0:29:50
Mm-hmm.
- 0:29:55
Mm-hmm.
- 0:29:55
So do we need clarification on that or-
- 0:29:59
Vance, would you like to shed a little light on that? I'm gonna put you on, uh, mic number, what number is that?
- 0:30:04
I think-
- 0:30:05
Number five.
- 0:30:09
All right. Well, I didn't draft this, but just upon, upon reading it, I think maybe could we maybe take a, a, a short break and I'll meet with the, this author and work out some language?
- 0:30:19
That's fine.
- 0:30:20
Sure. Yeah.
- 0:30:21
Well-
- 0:30:22
Yes
- 0:30:22
... I mean, as this is wr- again, I'm not a lawyer, I'll say that a million times over. As this reads, I, I, I thought that it read what we're trying to do.
- 0:30:31
It's all-
- 0:30:32
That what, whe- uh, that it is third-party managed short-term rentals are required to follow this. But again, starting line 39, "This subsection shall not apply to short-term rental properties that are managed directly and exclusively by the property owner without the use of a third-party management service." Now, are we calling third-party management services Airbnb and VRBO, or are we calling third-party management services property managers that are-
- 0:30:57
That's what we need to clarify.
- 0:30:59
Okay.
- 0:30:59
Okay. All right.
- 0:31:00
Thank you.
- 0:31:00
We're gonna s- we're gonna just, uh, take a quick break, and we will be back in just a few minutes, so hang with us.
- 0:31:09
I feel like I'm being difficult here, but-
- 0:31:11
It's okay.
- 0:31:12
No.
- 0:31:12
He's not.
- 0:37:31
It's the part. You can use the master bedroom. Imagine if we had anybody staying here, we could use the master bedroom. Whatever the, the vacation rental is, uh, whatever the amount. I was on a panel with Hannah Poling recently yesterday.
- 0:37:47
Yeah. Oh, I'm just staying at my guest house.
- 0:40:08
All right, ladies and gentlemen, I apologize. I think we've gotten some clarification here that will get us moving forward. Um, I know there are some questions. Uh, I think Representative Byrd left, so-
- 0:40:22
Yeah.
- 0:40:23
Uh, Representative Williams, did you have a question? Are you on mic one?
- 0:40:26
No, I was just gonna interrupt Representative Byrd when she started talking, but I'm all right.
- 0:40:30
Okay. All right. Thank you. Representative Willis, you had a question. Are you on mic nine?
- 0:40:36
That's me, mic one. It won't stop-
- 0:40:37
Yeah, I think she's nine.
- 0:40:39
Okay. Ask your question.
- 0:40:43
Thank you, Mr. Chair. I think that after hearing the conversation, I have the clarification that I need, and I know that the intention remains the same.
- 0:40:53
Yep.
- 0:40:53
Um, and so at the appropriate time, I think we should-
- 0:40:57
Okay
- 0:40:58
... propose to adopt the amendment.
- 0:40:59
Okay. All right. I'm going to recognize, um, Representative Clifton, who I think is prepared to offer, uh, some clarification-
- 0:41:09
Mic eight. Mm-hmm
- 0:41:11
... so that we can vote on something.
- 0:41:15
I think we're still trying to figure out exactly how to say that.
- 0:41:21
I think, I believe we're in agreeance on what we want to do. It's how do we make this say that correctly?
- 0:41:26
Yeah.
- 0:41:26
Because what's hap- you know, hosting platforms, uh, under section tw- or line 28 is the Airbnb and VRBO, but third-party managed short-term rentals could be interpreted to the third party is the Airbnb or the VRBO. What I would like, the third-party managed, and what I believe the intent was, is that that is a property manager that is managing people's h- Airbnb's and VRBOs.
- 0:41:56
Mm-hmm.
- 0:41:56
Um, so-
- 0:41:58
And, and you don't want them to have to do this. You want them to be incumbent on the Airbnb and the VRBO entity.
- 0:42:04
I don't... No, I think, I think the property management company should absolutely be a part of this.
- 0:42:09
Okay.
- 0:42:09
If they're making money managing people's homes-
- 0:42:12
Yeah.
- 0:42:12
Okay
- 0:42:12
... they should absolutely have to do this.
- 0:42:14
All right.
- 0:42:14
That's the p- that's the rules-
- 0:42:14
But if my h- if I have a house and I rent it out and I don't ha- I don't pay anybody the management, I do the approvals, I, I may hire a cleaner, but-
- 0:42:22
Yeah
- 0:42:22
... I mean, if I do all that, I don't believe I should be-
- 0:42:25
Okay
- 0:42:25
... applied to this.
- 0:42:26
Vance, do you have something that you could-
- 0:42:28
Well, of course the market-
- 0:42:30
Okay
- 0:42:30
... but that was not the homeowner. I mean, we should clarify this right here.
- 0:42:34
But it is the homeowner.
- 0:42:35
Yeah.
- 0:42:36
It would be the homeowner.
- 0:42:37
In person.
- 0:42:38
Short-term rental properties means residential unit used, offered for-
- 0:42:40
We're gonna offer both to us
- 0:42:41
...
- 0:42:43
tourism.
- 0:42:43
Yeah.
- 0:42:43
And I want our music folks to stay on deck 'cause we're gonna move as quickly as we can to you shortly.
- 0:42:49
Where the homeowner manages the listings for the properties directly with no-
- 0:42:55
How long before we can start? $2,000.
- 0:43:03
I think for, uh, members of the committee, uh, while they're continuing to talk-
- 0:43:08
You want me to say?
- 0:43:09
Nah, you're good.
- 0:43:10
Okay.
- 0:43:10
I think we got something.
- 0:43:11
All right. So Representative Clifton, would you like to propose the language you'd like to replace so we can-
- 0:43:18
So, uh, line 28-
- 0:43:21
Okay
- 0:43:22
... um, I'll read the whole section. "Short-term rental properties means a residential unit used or offered for tourism and transient use through a hosting platform." And the substitute would be, "Where the homeowner manages the rental directly with no help." From a third party. And again, I'm not a lawyer, so if a lawyer says that's crazy, then-
- 0:43:50
Absent third party says-
- 0:43:51
Please tell me. That's the, that's the easy-
- 0:43:54
Okay. Let's-
- 0:43:55
Can you repeat that question please?
- 0:43:56
He's got it. Can I interject something?
- 0:43:58
I agree, but the way that-
- 0:43:59
Yes. Okay. Representative Bazemore.
- 0:44:02
So I have a question for you, though. Let's look, let's look at line 39.
- 0:44:07
Yes.
- 0:44:08
Please. This subsection shall not apply to short, short-term rental properties that are managed directly and exclusively by the property owner-
- 0:44:18
Absolutely
- 0:44:18
... without the use of a third-party management service.
- 0:44:21
When I read this-
- 0:44:22
Does that not-
- 0:44:22
... that's exactly what I interpreted that.
- 0:44:24
Mm-hmm.
- 0:44:25
But unfortunately it was, um, a couple other people that said what this bill said, and it wasn't saying that. So again-
- 0:44:32
But this is what the bill says, but you were confused because of what was introduced verbally?
- 0:44:38
Yes. Verbally what was said is that-
- 0:44:39
Okay
- 0:44:40
... any sh- any Airbnb int- any person with an Airbnb had to do this training. But I agree with that.
- 0:44:46
But the bill says something different.
- 0:44:48
And when I read it, it looked to me... Uh, yeah.
- 0:44:48
Okay. So the bill-
- 0:44:49
So we can-
- 0:44:49
We're in agreement with what the bill says.
- 0:44:51
Uh.
- 0:44:52
But not what was presented.
- 0:44:54
Yes.
- 0:44:54
Okay.
- 0:44:55
And-
- 0:44:55
That's what I needed to know.
- 0:44:56
Yes. When I, when you, when I sat down and read this, I believed this said exactly what we wanted it to say.
- 0:45:00
Okay. So-
- 0:45:01
And then the verbal aspect of it
- 0:45:02
... so would you like to re-
- 0:45:03
To clarify
- 0:45:03
... restate your-
- 0:45:04
Yes
- 0:45:04
... amendment on-
- 0:45:06
Well, I don't know if we need one.
- 0:45:07
Oh, okay.
- 0:45:07
I think, again, when I read this before we sat d- when we sat down-
- 0:45:10
So-
- 0:45:10
... this made all the sense in the world
- 0:45:11
... all right. Well, then at that, then with that, I, I'm gonna move to number nine, and I'm gonna entertain a motion.
- 0:45:17
Thank you. Move that this bill do pass.
- 0:45:19
All right, we have a motion to do pass.
- 0:45:21
Second.
- 0:45:21
We have a second. All those in favor indicate by saying aye.
- 0:45:24
Aye.
- 0:45:24
Aye.
- 0:45:25
All opposed indicate. Motion carries. You're on to rules.
- 0:45:29
All right, thank you.
- 0:45:31
And now listen, y'all. They talk about us coming down here and fighting. Listen, we want to work things out and make sure that folks get good on stuff.
- 0:45:39
Uh-huh.
- 0:45:39
So y'all, y'all know that we did that.
- 0:45:41
She's taking notes.
- 0:45:41
All right. So with that, thank you for your patience, and we are going to now move on to a, a wonderful presentation by our music industry folks. I think Brian Hudson is here. And, uh, Brian, uh, the floor is yours. If you will come to mic, uh, 10. We're gonna put you over here.
- 0:45:59
Mr. Chair, please, you can turn my mic off now.
- 0:46:01
All right, we got it off. And num- number 10, Brian, we're gonna put you over here.
- 0:46:09
Thank you.
- 0:46:11
That's me.
- 0:46:12
I'm sorry?
- 0:46:12
Yeah.
- 0:46:12
Are you still the... I don't-
- 0:46:15
Yes. 10.
- 0:46:16
Oh, it says 10.
- 0:46:21
Is yours set to 10?
- 0:46:22
Yes, ma'am.
- 0:46:23
Oh, okay.
- 0:46:23
There you go. Thank you.
- 0:46:27
All right. Got you.
- 0:46:33
All right, Brian, the floor is yours.
- 0:46:36
Thank you.
- 0:46:36
Brian Hudson.
- 0:46:37
Thank you, Mr. Chairman and members of the committee. Um, thank you for having us today. Thanks to, uh, Chairman Stevens obviously for, uh, for having us as well, and it's good to see everybody. Um, just for everybody's, uh, reference, my name is Brian Hudson, and, um, I have kind of two lives down here. I've got my lobbying business, but I'm also a... Wait, hold on. Don't laugh yet. It's not that bad. I'm a professional musician, uh, and studio musician, and I am a voting member of the GRAMMYs.
- 0:47:07
And so I'm in this business, uh, along with my good friend, Representative Willis here. Um, but I also represent a, a few different music industry groups. Uh, one is the, uh, Recording Academy, which puts on the GRAMMYs. The other is, uh, Recording Industry Association of America, uh, which is the record companies. And then I also represent, uh, Georgia Music Partners, and we're gonna hear from my, my dear friend Mala Sharma, uh, in a few minutes. So just, I think high level, Mr. Chairman, uh, if it's okay, we... The goal of this, this presentation was not necessarily to talk about legislation.
- 0:47:40
We do have multiple bills that we are working on. One is the creation of a music office that is, uh, technically in an agree posture in the House right now. It passed the Senate last year, which we're very excited about. Um, the other deals with, uh, digital replicas or AI, um, which we had a, a very robust hearing in this room yesterday morning. I think it was yesterday. Yeah, yesterday morning. Um, so we will hopefully be, uh, having more conversations on those. But today I think is more of a focus on what, where is the music industry in Georgia from an economic development standpoint.
- 0:48:17
Uh, a lot of folks think about music as a tourism aspect, and that certainly is, is part of that. Obviously going to shows and, and, and seeing your favorite artist at different venues across the state, uh, is certainly a tourism piece. But there's also a really big focus on economic development that, uh, we have some great guests here today, uh, that are gonna talk about that. And the jobs that the music industry brings are very, um, they vary actually across the board, um, you know, from the artists to producers to managers, uh, et cetera.
- 0:48:49
And so you think of Nashville as a music hub, and it certainly is. Um, but I will say that Nashville, you know, we all think of Broadway. We think of all the, you know, honky-tonks and the, and the different country bars and, uh, or music bars in, in Nashville, which is a tourism piece. But they've also, because of that, they've created a scene in, in Nashville that has grown outside of the tourism piece, and that's something I think we have in Georgia, and we have the ability to continue to, to grow that here. For example, I've got a couple of examples here.
- 0:49:21
Um, AEG and Sennheiser have, have opened up regional offices in Nashville. AEG is a management company. Sennheiser does headphones and all kinds of different electronics. That's a powerhouse company worldwide. Napster, if you can believe they're still around, uh, their world headquarters is moving to Nashville. Um, they've also had heavy investments from, from some of my member clients and, and Capital Music and Sony Music just investing more in Nashville. We have the ability the, to, to have that here in Georgia, and it's not just in Atlanta my friend from Macon here has seen a lot of activity, um, with Mercer and Capricorn Records and all the great things that they're doing there, and it's helping to transform, uh, downtown Macon in a very positive way.
- 0:50:07
Uh, I'm fortunate to serve on the Savannah Music Commission, uh, which I know that's dear to your heart as far as the, the city. Um, and so, and, and, and, you know, Representative Gilliard's doing great things in Savannah, uh, with, with the commission to try to grow, uh, the economy down there. But we also have I mean, you, it's gonna be hard to believe this, but we have n- a nine-time Grammy Award-winning producer that calls Savannah home. Uh, he's got three studios down there doing hit records for everybody from, uh, Chris Stapleton, the Mumford & Sons, Greta Van Fleet, et cetera, all in Savannah, Georgia.
- 0:50:40
Uh, he just hit a, a platinum record with, uh, Red Clay Strays a few months ago. Uh, and his partner is in Valdosta, a guy named Mark Neil, who's also a Grammy Award-winning producer. And people say Valdosta. Well, it doesn't really matter where you are. Artists will come and, and, and, and record with you if you're at that level, and those gentlemen certainly are just few of the examples outside of Atlanta that are just really, really doing a great job. Um, but I, um, I, I'm kinda finished talking because you guys don't wanna hear from me. I've got a, a few special guests here that I'm gonna introduce and then just kinda have them come up.
- 0:51:13
Uh, first is, um... I'm gonna name their names if it's okay, Mr. Chairman, and then have them come up. Uh, Matt McClain is with Trilith Live. Of course, you guys are probably familiar with Trilith as a movie studio. There is a very robust music part of that property that I have toured, uh, and a lot of folks have toured, and, um, it is just awesome. And Matt is, is- he's got a wealth of knowledge, and he's gonna explain the economic benefits of that venue and all the stuff that they have going down just south of Atlanta. We also have Michael Greg Thomas, who's the CEO of Echobase, um, in Athens, which is a vinyl pressing company that's super cool.
- 0:51:52
Um, so these are just two examples of economic, uh, success that we're currently seeing in Georgia. And then as I mentioned before, Mala Sharma is gonna speak, and she won't say this, but she has worked with the likes of Tom Petty, AC/DC, Johnny Cash, um, et cetera. I don't think I have to say any other names besides those. Um, and she is, uh, she's done a tremendous job of leading and founding a group called Georgia Music Partners, which is a, a coalition of pretty much anybody you can think of in the music industry. So with that, uh, I'm gonna have Matt come up and talk to you about Trilith Live.
- 0:52:24
Thanks, Mr. Chairman. Members of the committee.
- 0:52:30
Thank you. And Matt, thank you for being with us today. The floor is yours.
- 0:52:35
Thank you, Mr. Chairman. Thank you, Brian. Um, so I was asked to come and speak really about the, uh, economic drivers of what, uh, the music industry is doing and specifically what it's doing in Fayetteville, Georgia. Um, quick background on myself, uh, again, Matt McClain. I serve as the executive director and general manager of Trilith Live, uh, and have come from my entire career, 20-plus years, in the venue management, uh, entertainment complex, uh, kinda management industry. Um, before I was with Trilith Live, I spent six years with State Farm Arena and the Atlanta Hawks, the Memphis Grizzlies, and FedExForum before that, Colorado Springs, uh, with the Broadmoor World Arena and Pikes Peak Center, and a few other venues, so, uh, across the country.
- 0:53:18
So I've seen this, uh, take place and be very beneficial across the country and back. Uh, originally from Tallapoosa, Georgia, so a little small town that would've never known that this was even a possible career when I started out. Um, from the overall, uh, industry that I represent, we do a lot of things at Trilith Live. If you don't know, uh, much about it, uh, Trilith Live is a complex that's the size of an NBA arena, uh, but has a large mix of, uh, what we'll call overall entertainment complex within it, both live and, uh, scenes.
- 0:53:51
So we have a few sound stages that we do both live audience TV, uh, and we do concert rehearsals. So before a tour goes out, uh, and tours around the US, stops at State Farm Arena or in LA or New York or wherever it may go in the US or in the world, uh, they have to rehearse first. And, uh, we've had the likes of Usher, uh, of Jason Aldean, of acts like Monica and Brandy, uh, and, um, others, uh, from the CCM world, uh, as well, that have stepped into our spaces and done rehearsals prior to starting their tours, uh, at- that the ticket buyers are going to see.
- 0:54:29
Um, with this complex, what that has done is a lot of people that are coming, uh, and have been in the film industry, they're able to shift gears and switch over into the live audience. Uh, if you remember back to COVID, uh, when the venues shut down for live entertainment, a lot of that local labor actually shifted gears and went to the film industry, the riggers, the carps, uh, the LX guys, the lighting guys, um, all of these groups. It is a, uh, skill set that can transfer.
- 0:55:01
Uh, we do a mixture, as I mentioned, in those sound stages, and we see similar faces, uh, both on the film side when we're doing that and on the concert side. So that is phase one of our venue that's been open for about 18 months. Uh, and we've had multiple acts come through. Phase two of it, though, steps into the live entertainment side, the ticket buyer side. And with that, we just opened it in January. We already have, in Fayetteville, Georgia, 20 concerts booked. Uh, we have, uh, multiple other entertainment events booked as well from a corporate and convention standpoint.
- 0:55:34
But, um, the industry, uh, is, uh, really pushing forward economic values and drives there. Uh, we've already hired for our venue over 250 employees. Uh, and the busier we get, the more we hire. We're in the process right now due to the initial, uh, you know, just excitement for our venue from promoters, uh, and the community that surrounds us. Uh, we're hiring more staff to help support the number of events that we're doing Some of that key data, uh, that we have is, um, stepping into the economic drivers, uh, is we will spend over $5 million annually with over 90 local and regional vendors, uh, to help support the operations of the venue.
- 0:56:18
I mentioned the number of staff, um, but we're also driving into economics of hotels. So just last year alone in the hotel that's in the town at Trilith, inside Fayetteville, we did, uh, 3,332 hotel rooms, and then an additional 3,800-plus hotel rooms, both at the, um, Peachtree City area hotels in Fayette County and up at the airport hotels. So when you look at the overall economics of what our venue does, it is supporting both locally, uh, with, with job creation, uh, locally with, um...
- 0:56:53
When you look at educational training, we're partnered with the state board of education and the local Fayette County Board of Education, where we do internships for high school students so that they can learn about it before they go to college, so they can say, "Man, is this a industry I wanna step into?" Instead of getting three, four years into college and not even knowing that it exists, uh, which was something that happened to me. Didn't even know it exists until then. So we're striving out into, into those steps, and we're also, uh, striving out into the local businesses, uh, both from just the economic impact internally, but also the tourism side as well.
- 0:57:26
Uh, when you look at the concerts that we have, we have the data of it that shows the majority of those guests that are buying tickets are in that 30 to 60-mile radius for us. A little different than what you would see at State Farm Arena when they do a K-pop show, that people are traveling all over the country to one of the only three stops that a, a act may do in the US. It's much more regionalized, uh, when you step into the concert world. Um, the final thing I'll mention, uh, we are in a battle from a rehearsal standpoint, so I started with that and I'll, and I'll end with that.
- 0:57:56
In our live audience, uh, and concert rehearsal stages, we're, uh, battling against a group, uh, that is p- tr- uh, originally from Lititz, Pennsylvania. Uh, Pennsylvania actually has a tax credit for music rehearsals. Uh, they recently just opened in January, uh, Rock Nashville, over 500,000 square feet of purpose-built concert tour rehearsal space. Um, just yesterday I was in a conversation with a tour manager that makes the decision of where his acts go, and they're going to Lititz because, uh, they have somehow been able to secure the Pennsylvania tax credit in Nashville for those acts due to the company being owned out of Pennsylvania.
- 0:58:39
And, uh, they're gonna be going and doing their 12 days of rehearsals there with, you know, 50-plus crew and acts and everything. So- So just for clarification, this would be purely for the rehearsal standpoint. Yes, sir. I'm, I'm interested in that. I was not aware. That's very interesting. Yes, sir. So, uh, they rehearse certain number of days, spend a certain dollar amount, very similar to like a, a film tax credit, spend a certain dollar amount, and, uh, then you execute a certain number of shows within the state, uh, and you receive a rebate for your rehearsal.
- 0:59:10
Okay. Okay. That may... Okay. I gotcha. Yeah. I gotcha. Ms. Mull can speak a lot to it for us, uh, on that end. But, um, we, that is our competition now of dollars that we can't give because you have to pay the power bill, essentially. Mm-hmm. Uh, that, uh, tax credit like that can incentivize someone to come and rehearse- Yeah ... uh, in the state. Can I ask you a question? Yes, sir. I- is there any discussion about, um, you know, and I'm all for digital and computerized. I know that- Mm-hmm ... is such a part of music now, but the actual musicians, uh, and young people being able to play instruments, acoustical instruments.
- 0:59:48
Mm-hmm. Uh, I'm gonna use my church, for example. Yeah. We just sold our piano. Everything is now keyboard. Nothing wrong with a keyboard. Uh, we got rid of an organ 'cause everything's digital. But I just, I see a lot of change, and I'm just curious. Do you have any thoughts on, are we training enough musicians and teaching them how to play real instruments? I don't come from that side of the industry, but what I would say is, uh, we're, our venue is, uh, not a traditional theater performing art space.
- 1:00:20
Mm-hmm. And we're, uh, we're in the process of securing a traditional piano for- Okay ... our venue, uh, that one- Well, you missed an opportunity to buy the one at our church.
- 1:00:31
Anyway. All right, we have a few questions. Uh, and, um, let's see. Mayor, you're on mic nine, right? I don't know if she's with- Pull your mic down. Okay. Ms. Edna. There you go. Just down. I think it's kinda- There you go. There you go, ma'am. Okay. There you are. All right. Can I ask one? Yes. I'm, I'm a little concerned. Uh, as you know, in cities you do have an office for all of the things that you're talking, uh, about. Do you go through them, through the city or the county, in order to get the kind of assistance that you need?
- 1:01:06
And who's gonna hire who? You know, how is that done? Who, how- Yes ... and how is cost the- Mm-hmm ... determined? That's a great question. So, uh, a little background on our venue. We're actually a 501[c][3] nonprofit venue. Uh, and we're in a partnership, uh, as a supporting organization for the city of Fayetteville. So sitting on our board is both the mayor and the city manager of the city of Fayetteville. Uh, so they're very in lockstep with us on what our overall needs are from a staffing standpoint, uh, to execute at the highest level this venue.
- 1:01:38
Uh, that really, um, these venues, if you don't know, when it comes to a performing arts style venue, theater space, 90% around the country lose money every year. So it's not a, a business driver for us. It's a economic driver and a quality of life driver. Um, so there's definitely that balance that has to be played of what is the staff that's needed versus, uh, the dollars that are available. Okay. So you-
- 1:02:02
with the cities or the whichever- Mm-hmm ... the communities are, and they work with you so they know that everything is being handled- Mm-hmm ... uh, together. That's correct. I- You know, instead of someone say, "Well, I'm going to do this." Mm-hmm. And they can't do certain things. May I ask you what... And we c- you can answer this late, I don't want to take up me... Who are you working with in Savannah? That's all I need. So I, I'm in Fa- Fayetteville, Georgia, but, uh- Oh, you're in Fayetteville. Yes, yes, ma'am. Oh, I see. So just right down the road. But, uh- Down the road a little bit .
- 1:02:33
Okay. All right. No, because it really does. I, I'm gonna move to rep- But I partner with Brian in Savannah. We're gonna keep you in Fayetteville. Yeah. I'm gonna move to rep- Representative Franklin, you had a question. I do. I just wanna br- I want... I actually tried to do a music festival in my town, and, uh, it was a, a four-year thing, and I did it for two years and lost so much money. I couldn't stand it anymore, so I- It's t- ... I quit trying to do it. It's typically a five-year return, so you just- That's what- ... you just missed it. Yeah, that's what they told me. So I tried to model it after Chattanooga, but it didn't... I didn't, I didn't have the stomach for it anymore after that, but...
- 1:03:05
So I, you know, I, I know it's very difficult. Um, but my question is, I wanna ask you about, uh, the tax credits. I was interested, um, in that, but do you know... And I'm assuming that when you, when the, the people do tours, they tour in a region, uh, maybe like the Southwest, they hit that, then they go maybe somewhere else. But do you know if other states that are offering, uh, th- these tax credits, uh, have a- Pennsylvania specifically is, is the best case, uh, scenario that we have that, uh, offers it. Um, you've got major acts that can get, uh, large dollars back from their rehearsals by doing shows within the, within the state, multiple shows.
- 1:03:40
So but I guess, uh, would it, the, the, the bordering states, do you know if they do it or, um, Alabama, Florida, all that stuff? I, I don't know. We can certainly check on it. Uh, Matt and I- I- ... will get together- Yeah ... and check and bring some answers to you. I, I would assume that that would, that would play a better part because they wanna do a regional tour, I would think. Most of the tours are gonna be national tours- Mm ... uh, versus just sticking in a couple states in the Southeast- Okay ... that are gonna hit our space. Brian, you have a clarification real quick. You just, you can hang to 10, 'cause I think you're just real- Just real quick? ... real quick. Yeah.
- 1:04:11
Uh, Representative Franklin, I'm gonna kneel down. Sorry, it's kinda weird. Come join me. Hey, guys. Hi, Brian. Yeah. This is a bit weird, but it's okay. To answer your question, I, I wanna follow up on you as well. Sorry, I'm kinda in your space, but- You're good ... so Georgia had a tax credit for music a number of years ago. Um, the, the thresholds were way too high as far as where the music industry moved pretty fast as it relates to how much it costs to actually initiate a tour, et cetera, as well as it was kind of a three system, three-part system.
- 1:04:42
One was relating to, uh, recordings in a studio, as I mentioned, some of these folks in Savannah and other places, Atlanta, Macon, et cetera, with these studios, as well as, uh, recording, um, to synchronize into, like, a movie or a television series or something like that. And then the other piece was the, uh, was the tour rehearsals, 'cause we had heard, and Matt knows this way better than I do, we had heard for so long that it was less expensive for some of these artists to travel. We heard in one case, Mala, New Mexico, I think Sugarland went to New Mexico to rehearse, and they're all from here.
- 1:05:19
Wow. And so we pushed that, and unfortunately, the thresholds were too high, and we were the only entertainment credit that didn't have transferability, uh, which is really the only reason the film credit is successful, um, in my opinion at least. And so film post-production and, uh, video games all had transferability. We did not have that. And so we are, uh, very interested in, in pursuing that, uh, kind of bringing that back. And so, uh, you asked about Alabama.
- 1:05:50
Muscle Shoals, which is a very iconic- Mm-hmm ... uh, recording studio, there's not a whole lot there, respectfully, um, but- It's true if you've been there. But they do have a couple of very iconic studios. They have a, um, they have some type of, um... Oh, gosh, I'm drawing a blank on what it is. They have an incentive there, and producers are going to Muscle Shoals, Alabama, and opening up studios. Mm. Yeah. We should be ha- we should have that here. All right. Um, and so they have it, and Tennessee is taking advantage, as Matt said, of the Pennsylvania credit.
- 1:06:25
Um, and Texas has a music office that's very robust, um, that's working to, as the mayor was asking, to kinda, um, coordinate statewide with cities and counties in trying to bring these businesses to Texas. And that was started under a Democrat governor and kept through Bush and Perry and all the Republicans since then, and actually grown under this Republican governor. So that's something similar to what we, that we wanna try to do. You asked about are we training our musicians. I hope it's okay if I- Yes, please ... literally just completely take over your presentation here.
- 1:06:59
It's an arts and schools issue. It's an arts and schools issues, as Representative Willis. It is, um, it is very, very, uh, tragic, frankly, that, um, that our schools don't have music education. It's, um... You see it in a lot of charter schools, private schools. There's an organization that I'm on the board of called the Oconee Performing Arts Society, and they raise money to help public schools with training musicians. Um, it's so important for, for science and math and so much else out there, but unfortunately, it's kinda, uh, it's kinda fallen by the wayside.
- 1:07:31
Understood. I, I, I'm a little passionate about it. I could talk. Yeah, I can, I can tell. So I hope I answered- Thank you ... all your questions, and maybe I'll let Matt have his space back here, Mr. Chairman. All right. Thank you, Brian, for clarification. We have some members that have questions, uh, and so we're gonna move on. Representative Willis, you have been very patient, and I'll open your mic for question. Thank you, Mr. Chairman, and thank you for the information, um, on Trilith. I'm familiar with it. I've had clients tour rehearse there, including Usher. Yep. What we're talking about, uh, falls into a couple of buckets.
- 1:08:03
We're talking about professional
- 1:08:05
... entertainers and m- um, m- masters of musicianship.
- 1:08:08
Mm-hmm.
- 1:08:09
So for example, I currently hold clients in this space who globally tour, but the rehearsal time that it takes to put together a grand scale global production tour for, say, an Usher or a TLC, just for example-
- 1:08:24
Mm-hmm
- 1:08:24
... that's months of rehearsal.
- 1:08:25
Mm-hmm.
- 1:08:26
That is hundreds of components of production. That is hundreds of jobs.
- 1:08:31
Mm-hmm.
- 1:08:31
Um, these are good jobs and alternative jobs for people who desire to work in the arts-
- 1:08:37
Mm-hmm
- 1:08:37
... but are not meant to be in behind a microphone.
- 1:08:42
Mm-hmm.
- 1:08:42
Dually training students to master musicianship goes right back to the necessity for arts in our school pro- for arts in schools. When we eliminate arts from schools-
- 1:08:53
Mm-hmm
- 1:08:53
... it's not the professional space's responsibility to pull individuals up, it's our responsibility to create an economic pipeline. And I think the greatest hurdle we have here, and thank you to my friend Brian and to all of you who come to represent this space. I worked in this business professionally from the 11th grade. From the 11th grade, that's how robust Atlanta was-
- 1:09:13
Yeah
- 1:09:13
... when record labels were here, Arista and LaFace to be specific.
- 1:09:16
Mm-hmm.
- 1:09:16
And there are opportunities in this space, and music is an economic driver that has not been given the same respect and consideration-
- 1:09:24
Mm-hmm
- 1:09:24
... as the film and television industry. That goes all the way to syncs and licenses-
- 1:09:29
Mm-hmm
- 1:09:29
... for soundtracks. That goes all the way to the music that goes into the television shows that you watch on TV-
- 1:09:35
Mm-hmm
- 1:09:35
... the ways that I still make money. And there's some divide between the film industry and the music industry.
- 1:09:41
Mm-hmm.
- 1:09:41
I don't have the answer for what that is, but it is my hope that we will see, um, some respect put on the name-
- 1:09:48
Mm-hmm
- 1:09:48
... of, of this music industry that continues to magnetize people to move here-
- 1:09:52
Mm-hmm.
- 1:09:52
Right
- 1:09:53
... in an unceasing number-
- 1:09:54
Yeah
- 1:09:54
... for what they call Black Hollywood.
- 1:09:57
Mm-hmm.
- 1:09:58
Mm-hmm.
- 1:09:59
Atlanta-ville, whatever you wanna call it.
- 1:10:00
Mm-hmm.
- 1:10:00
But we're talking billions of dollars generated-
- 1:10:05
Yeah
- 1:10:05
... for this state's GDP, and no incentives for people to come and stay here.
- 1:10:10
Mm-hmm.
- 1:10:10
I have a client right now with a new album coming out, huge in hip-hop-
- 1:10:14
Mm-hmm
- 1:10:14
... looking at, um, rehearsing out of state for an enormous hip-hop tour.
- 1:10:20
Mm-hmm.
- 1:10:20
Uh-
- 1:10:20
Can I give you his business card?
- 1:10:22
Talks too much.
- 1:10:22
We know, we know you. Uh, yes. But that's, that's the type of business that we're losing.
- 1:10:27
Yeah.
- 1:10:27
So I just wanted to share that from personal experience.
- 1:10:30
That's great. Yeah.
- 1:10:30
And it's not just hip-hop. It, this is a problem and a gap, and we have to bridge the gap between the music industry and the film industry-
- 1:10:36
Yeah
- 1:10:36
... because there is no film without music in it.
- 1:10:39
Sure. Yeah.
- 1:10:40
Thank you.
- 1:10:41
And, and, and mu-
- 1:10:42
We're with y'all
- 1:10:42
... and mu- music is foreign language and- ... math and academics.
- 1:10:46
It's a universal language.
- 1:10:48
Absolutely.
- 1:10:48
Mm-hmm.
- 1:10:49
Absolutely.
- 1:10:49
It's-
- 1:10:49
I love it. I love it
- 1:10:50
... em- you can look at Downtown Atlanta here. Um, State Farm Arena c- consistently ranks top 10 in the world as busiest venues, uh, when it comes to number of tickets sold, dollars sold at the box office.
- 1:11:02
Mm-hmm.
- 1:11:02
Uh, they're one of the busiest arenas in the country, in the world.
- 1:11:06
Yeah. Very good. Very good. All right. Uh, Representative Bazemore, you had a question.
- 1:11:11
Well, it's... Thank you, Mr. Chair. It's more so a comment.
- 1:11:15
Mm-hmm.
- 1:11:16
And just want you to know, if you don't know, you have two, two individuals that represent Fayetteville.
- 1:11:22
Yes.
- 1:11:22
And we are so proud to do that. And, but I'm really happy that you came and educated others-
- 1:11:29
Mm-hmm
- 1:11:29
... on what is there-
- 1:11:30
Yes
- 1:11:30
... and what's available. And I hear the ask is to resurrect the tax, um, credit.
- 1:11:38
Mm-hmm.
- 1:11:38
And so can we please look at that?
- 1:11:41
Mm-hmm.
- 1:11:41
And so we can keep these individuals here-
- 1:11:44
Mm-hmm
- 1:11:45
... and that our revenue will stay here.
- 1:11:48
Mm-hmm.
- 1:11:48
So that's what I would ask. And I know the mayor, he is always working hand-in-hand with you all. So is, um, Dan Cathy.
- 1:11:57
Mm-hmm.
- 1:11:57
Um, so he's excellent also.
- 1:11:59
Mm-hmm.
- 1:11:59
So, and we stand-
- 1:12:01
Yeah
- 1:12:01
... with you all.
- 1:12:02
Thank you.
- 1:12:03
Especially those of us that represent Fayetteville.
- 1:12:06
Thank you.
- 1:12:07
Well, thank you.
- 1:12:07
Thank you.
- 1:12:08
Very good. Thank you, Matt. I appreciate it.
- 1:12:10
Yes, sir.
- 1:12:10
Now we have some other guests that are gonna come, and I would ask you, I know Brian has introduced you, but please, uh, tell us your name again and where you're from, and, um, and we're just honored to have you today.
- 1:12:23
From south Georgia, 30 years. Nice. Yeah. It was, uh... I'll firstly just begin off my script to say this is overwhelmingly, uh, enjoyable to be a part of. This is my first kind of- ... chance to participate in civic discourse and seeing the passion of it, particularly for my industry. Thank you for having me, Mr. Chairman.
- 1:12:44
Absolutely.
- 1:12:45
And to the, uh, to the committee. Uh, my name's Michael Greek Thomas. Um, I'm Atlanta born. No, I'm not. I'm, grew up in the North England. But I moved to Georgia in the pandemic.
- 1:12:55
What? More.
- 1:12:58
Uh, near Manchester in the North England.
- 1:12:59
Okay.
- 1:13:00
And, um, yeah, I've lived in the US for about 12 years. Yes. Thank you, ma'am. Um, for about 12 years. I lived in Oakland and lived in, in Bronx, New York. And, um, I moved here to manage a factory and, um, fell in love with Georgia as somebody who had grown up being a fan of the music heritage here. Now I'm way off script, so I'll tell you why I'm here to talk. Um, I'm the CEO of a factory and distribution company. We make vinyl records in Athens, Georgia. And, um, I began my career as a, uh, signed recording artist, um, at 16 years old.
- 1:13:37
Um, and then I ran a record label for a number of years, um, and ended up in manufacturing, which is, you know, w- actually, what I grew up in, is a manufacturing family in Northern England.
- 1:13:45
Mm-hmm.
- 1:13:47
Um, my parents are now saying, "I told you so." Um, uh- But I adore working in this country, and I've been working in music now for 20 years as a producer in varying capacities. The vinyl record market, I mean, it might surprise some of you, it might not surprise some of you, it's not a niche. Um, the North American vinyl market is worth $1.4 billion in annual revenue, and the global one, you know, many multiples larger than that. And the resurgence isn't actually driven by the California major labels. It's, it's very much more driven by the growing independent music sector, um, which consists of literally thousands, um, if not hundreds of thousands of artists and small to medium-sized businesses, um, like myself, um, a- and many others.
- 1:14:31
We're well-represented in, in Georgia in that regard, I think. Um, my business is very much the physical infrastructure for that independent sector. Um, you know, the major labels did not build what they built with mom and pops in mind, and that is very much what the music industry is growing on as a platform. Uh, despite high demand for vinyl in the US, there is, uh, only a couple dozen vinyl pressing plants in North America, and, uh, here in Georgia, Echobase is our only facility.
- 1:15:02
Um, I actually moved here to work for, um, a factory that started in 2017, and, uh, I saw it wasn't serving independent artists, and I saw that was where the trajectory was, so I started Echobase, and lo and behold, I ended up buying that factory. So, um, Echobase, we employ, um, 30 full-time staff. Uh, we have five production lines. We're in the process of installing four more this year, um, so we'll have 50 full-time staff. Um, our starting wage is $17.50, um, which I think is, is pretty good for Athens, Georgia based on what I've seen since I, I moved there, and we offer full healthcare benefits as well.
- 1:15:43
Um, at our capacity presently, we're able to produce two million records a year, um, and that generates, uh, approximately $5 million, uh, in revenue a year by the end of this year. Uh, and our commercial output is pretty modest compared to some other music cities like Los Angeles and Nashville. I feel like out of session we could dig into more of why that is, but, you know, N- in Nashville there are three factories that are each, you know, maybe up to 10 times larger than, than ours. Uh, similar is the case in, in Los Angeles.
- 1:16:15
Um, while my work involves industrial machinery and skilled technical labor, um, the vast majority of my staff are musicians and artists and facilitators of music and art in my Athens community. Um, so in short, our business is training skills and creating what I like to call a musical middle class, um, in a city that's been historically dependent on the university campus. Um, a lot of manufacturing has left, and, uh, I'm very proud to be part of, uh, reoccupying those industrial buildings.
- 1:16:47
Um, nevertheless, our ties with UGA are very strong. It's fantastic having a university campus that close. About 15% of my full-time staff came through one of our three annual internship cohorts, so we, we have many UGA alumni. Um, moreover, building Echobase has allowed us to activate what is an aging industrial corridor in Athens, and, and we've named it the Fritz Mayer Arts District. Our cultivation of what was neglected, uh, real estate has attracted other businesses.
- 1:17:18
So we've got coffee roaster, a comedy club, a dance studio, a salon, a fine furniture maker, and, uh, more recently, a regional, uh, arts and culture magazine named The Bitter Southerner, um, move into our building, um, that was fallow until we occupied it. Um, so I think that making vinyl like, you know, craft beer and like r- uh, roasting coffee beans, it does give rise to cultural assembly and community whilst creating a lot of jobs and bolstering local economy. Um, in that same regard, vinyl record pressing is an organizer of our music industry.
- 1:17:54
Um, what I have found is that Athens, everyone knows it's a music town, but it was very isolated. It was a lot of people working individually. Um, and I was so glad when I, I met Marla because she shares this passion of, how do we connect everyone? But when someone works on a vinyl record project, the artist is collaborating with the label, is collaborating with the distributor, is collaborating with the retailer, and we have so many projects that we work on with Athens that all of those things from the writing to the recording to the final production happen within Athens city limits.
- 1:18:26
Um, so I will just say, you know, Georgia has a really powerful musical legacy, and, um, from my perspective, having some statewide coordination through a music office, um, I think could take what we have achieved as a microcosm in Athens and make it a statewide standard and even lead the way on a national level. Um, but I just really appreciate the time, and again, I'm, I'm so glad to be-
- 1:18:50
So question, and you may not be able to answer this, but we all received a, a, a vinyl record at the beginning of session, and, um, m- my grandparents had a record player, and unfortunately, we got rid of it when they passed away. But, um, any recommendations on the player? Like I'm, I wanna go buy one-
- 1:19:07
Yeah
- 1:19:07
... so I can listen to this record, or I could buy from you, or you, you may not, can say, uh, I don't wanna put you on the spot, but-
- 1:19:13
No
- 1:19:13
... what's some advice on where we need to go or what we need to look at?
- 1:19:16
Go to your thrift shop.
- 1:19:18
Really?
- 1:19:18
Yeah.
- 1:19:19
Okay.
- 1:19:19
I mean, for like your return. Unfortunately, there's a lot of overseas manufacture-
- 1:19:23
Mm-hmm
- 1:19:24
... that gets piled through Target and-
- 1:19:25
Yep
- 1:19:26
... Walmart, and, and that is, it's inexpensive, and it's great to get people in the habit of, of buying things, um, to start this like habit of focused listening. But-
- 1:19:36
Uh-huh
- 1:19:36
... those players are not gonna last.
- 1:19:37
Okay.
- 1:19:37
And what you'll get from a thrift stop- shop is if it's lasted this long-
- 1:19:40
Very good
- 1:19:40
... just change the cartridge and you're good.
- 1:19:42
All right.
- 1:19:43
Yeah.
- 1:19:43
Members, do you have any questions for our presenter?
- 1:19:45
I want a Victrola. Thank you.
- 1:19:49
Well, thank you for your time and sharing your story, and, uh, we're glad you're here in Georgia doing business.
- 1:19:54
Thank you.
- 1:19:54
Yep.
- 1:19:55
Thank you.
- 1:19:56
All right. Next, and again, Brian has already introduced you, but just for the sake of time, will you please tell us your name and who you represent?
- 1:20:04
Thank you, Chairman.
- 1:20:11
Thank you for the opportunity to speak. I know you guys, uh, have a lot going on, so, uh, I'm gonna try to make my remarks quickly. Uh, my name is Mala Sharma. I serve as president of Georgia Music Partners. I also run a consulting practice focused on building music ecosystems for cities and cou- and counties across the country. I've seen firsthand how a strong music economy can transform communities, and you've heard how we're doing that in Athens and Fayetteville. We're doing that all across the state. But I began my career in the music industry in Athens, um, at UGA as a student, uh, managing bands, and after graduating, I moved to Los Angeles and worked with, uh, renowned record producer Rick Rubin.
- 1:20:54
As Brian mentioned, I've worked with, uh, artists such as Johnny Cash, Tom Petty, Red Hot Chili Peppers. I then went to New York to run a label for Sony and came back to Georgia in the early 2000s. At that time, the music scene in Georgia was, it was unrivaled. We had a thriving music business around the state, uh, Macon, Augusta, Athens and Atlanta. We had, um, world-class producers, Dallas Austin, Brendan O'Brien, making, uh, you know, the biggest records in the world right here in Georgia.
- 1:21:34
And I share all that information because, um, I think we can get back there. I, I, I think it's gonna take some intentionality, and that's why we really do appreciate this time, um, today with you guys. I wanna just give you some data. Uh, we rep- Georgia Music Partners represents more than 70,000 music industry professionals and over 10,000 music-related businesses across our state. Our industry contributes more than $5 billion annually to Georgia's economy. We have more than 48 music business programs across our colleges and universities and 16 professional orchestras statewide.
- 1:22:12
Music in Georgia is not just entertainment, it's commerce. It supports jobs in production, touring, venues, hospitality, education, technology and small businesses. It fuels tourism and it anchors downtown developments. It creates opportunity in rural and urban communities alike. Uh, as you all, as you know, you know, Georgia hosts hundreds of music festivals each year, many of which honor the legendary artists who hail from those cities. You've got Ma Fest in Columbus, which celebrates Ma Rainey, the Mother of the Blues.
- 1:22:45
You've got the Gram Parsons Festival in Waycross, which honors the country rock pioneer, Blind Willie McTell Festival in Thompson, Georgia, um, at Blues and Barbecue Festival in Blue Ridge, which is the home of the first country artist. Um, and then you've got the larger festivals, One MusicFest, um, the Cherry Blossom Festival, Savannah Music Festival. Um, these independent music venues and festivals alone generate $2.3 billion of economic output statewide.
- 1:23:19
And in 2024, fans attending these shows contributed approximately $172 million, um, to, uh, k- to, to kind of off-site spending, we call it. So that's hotels, restaurants, retail and other local businesses. Over the past five years, Georgia's cities and venues, and I know many of you guys will know this, have invested over $1 billion in new construction, expansion and renovation through private capital, bonds, BLOS and public-private partnerships.
- 1:23:54
From NMarket Arena in Savannah to the new amphitheater in Macon to the Classic Center in Athens, the redevelopment of James Brown Arena in Augusta, and then just down the road, uh, from here, Centennial Yards, uh, is developing a music and entertainment district that's under construction, and this is a $5 billion, 50-acre development that's gonna feature a 5,300-seat Live Nation venue and Cosm, which is a immersive entertainment space like The Sphere in Las Vegas.
- 1:24:28
Um, so we are, you know, cities and our industry are investing, and we are building, but if we want music to thrive here again at the level we know it can, um, w- we need the state's buy-in as well. And so I'd respect- respectfully encourage this body to consider legislation that strengthens that music economy. Um, Representative Willis said that, you know, she mentioned that there's just kind of been a disconnect between film and music, and I, and I think that music has been in Georgia for, you know, a long, long time.
- 1:25:07
We, um, create music in every corner of this state. We, uh, contribute to e- to the communities, and so we're asking for, you know, just your help and support in looking at that, looking at, uh, a, a music tax incentive as these film studios are, um, struggling now to stay as full as they once were. There is an opportunity for music to fill those spaces. Um, so I, I just think that these, uh, strategic investments to an industry that already returns billions to our economy, uh, would make a big impact to our industry.
- 1:25:47
So, um, I just wanna invite all of you guys to visit our members, their venues, theaters, festivals and studios in your district, um, so you can see firsthand, uh, the, you know, the hundreds of people who bring these concerts and recordings to life.
- 1:26:03
That's it. I'll-
- 1:26:04
Very good.
- 1:26:05
I have a question. I just wanna ask one question.
- 1:26:06
Yeah, absolutely, Mayor.
- 1:26:07
Okay. Um, festivals, and we do have festivals, m- music festivals, are you working with them or, you know, you find people within the community that may want to do it? Everyone know- knows that in September we're gonna have the Blues and Jazz Festival, and it's really well-attended. But there are other avenues that we can use with the beaches and all of that. So I need your card, please.
- 1:26:35
Okay. Gladly.
- 1:26:37
Very good. Members, any other questions before... Well, this has been a great conversation, and I think we all have seen and, and been aware of some of the, uh, divisions between film and music, and hopefully this will help to set our sights on some opportunities that we can make that better for the music side of the equation. And, uh, being somebody that I am a music person, even though I'm not a accomplished musician like you, Brian, and so many others, um, I love music, and my mom led the choir at our church growing up.
- 1:27:11
And, you know, we talked about music education in schools, and no doubt we need to invest there. But so many of our musicians came up through church, and they didn't have a choice. They needed somebody on the bass and the drums and whatever, and so, uh, and, and that's taken a hit, too. But I am from Cartersville, and I would be remiss, we talked about some of the newer groups that, that have come through Georgia, but, um, we were the home, are the home of a man named Robert L. Jackie Beavers. And, uh, he recorded with Johnny Bristol as a duo, Johnny and Jackie, and co-wrote Someday We'll Be Together, later a number one hit by Diana Ross.
- 1:27:48
And I grew up knowing Jackie and, um, loved Jackie. Unfortunately, he passed away several years ago, but, uh, Jackie was just a wonderful person, and he was a pioneer in the music business in Georgia way back when. So I just wanted to share that. But with that, members, you've been very patient. I appreciate those who have stayed. And, um, we at this point, unless there's anything else, uh, that we need to cover, uh, we're adjourned. Thank you.
- 1:28:13
Thank you.