First fly gig of the year. With a string of more extended travel on the horizon. I’ve spent a lot of my career turning down fly gigs and tours. With salaries being what they are, and practices like half pay travel days, it didn’t always make sense financially. I could make more staying in town and wouldn’t have to do the ol “Hey everyone I’m back in town! HMU” posts. Musicians all know what this statement signals. If I could have one superpower, it would be the ability to be in two places simultaneously. In a way, the pandemic was a blessing in disguise for this want: The world is more open to asynchronous work, and digital nomadism. I was able to crack the code of how I could use the downtime at airports and hotel rooms to service remote clients, and get work done between stages. This week, I’ll be editing asynchronous lessons at 30,000ft. Sending videos out to my students when I land. I have remote clients lined up. Some as far as Jakarta and Slovenia. Time willing, I may even be working with one of my clients on-site before my gig. In a world full of people trying to chase the myth of passive income, I took the contrarian approach and went after leveraged income instead. The force multiplier of the internet, social media and content are a few of the ways I’ve sourced income from unlikely sources. There are no constraints of time zones, location or even sleep when you use the robot army that lives online. The biggest challenge for musicians is how to decouple being in a specific place at a specific time and making income. If you’re only selling your time for money, there’s a way out: Build things that don’t stop working when you do and build things once that you can sell twice. My audacious goal is to give freelancers the tools for finance and leverage to buy their time back. No more starving artists, dejected creatives and broke musicians. See you at work. ✈️ #DigitalNomad #Freelancer #RemoteWorker #MonoCases #Pelican @monocreators https://www.instagram.com/p/CoX6-9zSfzl/?igshid=NGJjMDIxMWI=
