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Building One Dream To Support Another with Andrew Hand | #029

Tags: transformational speaker, songwriting, Echodrive, The Power of Now, stadium-worthy songs

As a true expert, you always have to figure out how to spot and create opportunities. Transformational speaker and recording artist Andrew Hand is doing just that. Andrew is building one dream to support another. Music has always been a big part of Andrew’s life so he decided to put a band together. His end goal is to have stadium-worthy songs, and inspirational speaking is the way to help support that. Andrew shares that music has been a tool to start bringing him back to that state of joy, fun, and energy we had as kids. He wants to make songs that are about having a positive difference and have a message of hope, love, and self-acceptance. He wants to get his band and his songs out into the masses. Andrew tells his story of how he’s leveraging his expertise to get his message to the masses.

Building One Dream To Support Another with Andrew Hand

Our guest is Andrew Hand. He is an incredible human being. He’s a transformational speaker and recording artist with a message of hope, love and self-acceptance. Andrew’s purpose is to help others see their greatness and inner light. He’s got a band named Echodrive. His goal is to have stadium-worthy singles, stadium-worthy content. He wants to get his band and his songs out into the masses. As a true expert, you always have to figure out how to spot and create opportunities. That’s the whole purpose of this podcast.

He had a unique journey. He’s got a story that is very powerful. You’ll see that he’s doing things on the side to build this main passion business of his. What I want you to focus on is how Andrew is building one dream to support another. His band Echodrive has some amazing music out there. I want you to pay attention to what he’s doing and how he’s leveraging one dream to fulfill the other. Enjoy this episode. You are going to find tons of value. When you get a chance, check out his music Echodrive. Without further ado, let’s jump into Andrew’s story and hear how he’s leveraging his expertise to get his message to the masses.

You are in for an amazing treat. I have a very special guest, Andrew Hand, who is a speaker and musician. We are going to be talking about his incredible experience, his incredible expertise and telling his story about how he got to where he is. Andrew, welcome to the show.

Thank you. I am so honored to be here.

You are the first musician that we’ve had on the podcast. Why don’t you do an intro? Tell us a little bit about who you are and what you currently do. What is your expertise?

I’m a musician and speaker. What I do is help people tap into their genius. Help them see and step into their light, their greatness and to believe more in their gifts and talents. I do that through my music and through my speaking. How I show up in the world is to remind people of that within them.


What is your music? You said it is Echodrive.

Echodrive is my band. Before that, I was a solo musician doing my thing, trying to make it. I decided that I’d put a band together and brand that because that’s what I always wanted. It took me a long time to get around to doing it.

What type of music is Echodrive? Tell us a little about it.

When I ask people, “What do you think this sounds like?” I have my own opinions. People always seem to come back with, “It reminds me of Imagine Dragons. It reminds me of Linkin Park. It reminds me of Red Hot Chili Peppers. It’s got some funk. It’s got some hip-hop. It’s got pop.” I say, “It’s big stadium anthems with an inspirational message.”

You help people find their voice, find their message. You’ve got your music and you’re also a transformational speaker. What does that mean? What do you talk about?

I started getting into the speaking world and I’ve been on camera. I started out as an actor. I found that as I began to work through my process of getting through my anger and all these different things, I started to talk about the things that we have inside of us, the potential. Likely it was because I felt I knew what I had inside of me. As I continued to grow and evolve, I found that my music kept repeating these themes. In conversations when I’d find people through teaching, people were like, “I used to play the drums or I used to sing. I’ve always wanted to get back to that,” and I’m like, “You should do that. Get back to that.” We all had a time in our life when we were playful, and we had more freedom and joy. It often seems that the busyness of life comes in and can rob us of that or start to take it away. I want to remind people to get back to that.

Can you elaborate on that a little bit more? You said we all have this time where we used to be playful.

Some kids grow up and they automatically have environments that don’t let those live joyous, expansive lives. They’re in a fear state. I started out as a happy, energized kid who wanted to play, have fun and express myself. Slowly, I begin to shrink inwardly and stopped doing that, stopped expressing me. Music has been a tool to start bringing me back to that place.

Building One Dream To Support Another: I decided that I was going to become a musician with no experience, and that’s what I did.

When did you discover music? When did you discover that was your outlet, your creative expression, your creative outreach?

When I was seven years old, my brother gave me two albums that changed my life. It was U2’s Under A Blood Red Sky and our R.E.M.’s Green album. I’m sure I loved music up until that point, but when I played those records, I heard Bono singing and I saw myself on stage. Somewhere down the road, I loved music. I’d sing in church. My mother was a minister. Around nine, my brother was like, “Don’t sing. You don’t sound good.” At that moment, I stopped singing. I didn’t do anything musical. I never learned an instrument until I was 24. I decided that I was going to become a musician with no experience. That’s what I did.

From the age of nine to 24, you weren’t doing any music?

Yes. When a teacher in high school said, “Andrew, you’re good at math. You’ve got to do music. There’s this strong correlation.” I got mad. I was like, “I don’t want to do music. I don’t want to be a band geek.” She would keep after me, but I kept saying the same thing. Finally, she left me alone. I was like, “I’m not a musician.”

Why at 24? What happened?

When I was sixteen, I fell asleep at the wheel driving home one night. I flipped my car on the interstate going 80 miles an hour. My car was going off the road, flipping over and over, crushing metal, breaking the glass. All I saw was my life flashing before my eyes in a slow-motion moment. I saw that I hadn’t lived how I wanted to live. I hadn’t been engaged, I wanted to engage. I haven’t loved people like I wanted to. I cried out, “Don’t let me die. Not now.” I thankfully walked out from that without a scratch on my body. The paramedics came and they told me, “We expected to pick your body parts up. There’s no reason you should be alive.” At that moment, something changed in me. I realized that I needed to live a life that was more expressive, that was more congruent, and that was more tapped in and to other people. That lasted unfortunately for a short time period.

I was graduating from high school. I had to move across the country and enter into the adult world. I never had those skills to be on my own. It was overwhelming. What ended up happening is I found myself in a degree program I didn’t like, working a job I hated. Knowing I wanted to do more, being isolated from all the friends I had in high school and in this new state, and I felt alone. I would spend most of my days working, come home and zone out playing video games and watching movies. That went on for about seven years until these two guys I worked with were musicians. When they talked about music, touring and making albums, I was like, “I want to do that.”

That was the birthing place where I was like, “I could do this.” I started going home and getting on my Mac. I bought a computer for my birthday. I saw that it had this application called GarageBand. I didn’t know what that was. I fired it up and I was like, “I can make music on this thing.” With no experience, I started grabbing loops from that program and creating little beats and songs. I started singing and writing stuff. That was the genesis of where I started being a musician.

In your car accident at age sixteen, you had this epiphany. You said it yourself, it didn’t stick. It lasted for a short time. It must have been vivid in the way that you described it. Why do you think it didn’t stick? Why do you think it was short-lived?

There are a few things that contributed to it. My mother was a minister and it was a strict religion. I didn’t ever feel it was authentic in who I was, but it was what I was being raised in. When I had this accident, the only avenue I had to associate with who had spared my life was a god that was part of this religion. As I was disenfranchised by this religion, this moment made me say, “It’s this God. I have to come to this.” I dove more deeply into this religion and was a convert. That did not hold the answers that I was seeking. It left me feeling more disfranchised as I got deeper and saw it. This is BS in my opinion. I don’t want to blame religion for that. I didn’t have a context of spirituality. I didn’t have a context that there are other ways of looking at things. That was one aspect. As I later in life got into meditation and I entered into bliss consciousness, I know that that’s the state I was in. I also knew that it wouldn’t last. I’ve been in that altered state for a six-month span where everything’s light and everything’s peace. Thoughts were still. It felt magical, but it did dissipate. I didn’t know how to cope with that at that age in life. I thought, “Something’s transformed,” and it’s going to be this way forever.

When was this? What age?

Sixteen was that first and then later in life, at around 27 I started meditation. I got into this bliss consciousness zone. I recognized it again. It became familiar. I understood the lens of my accident better. I understood what had happened in my brain. At the time, at that age, I didn’t. I knew I felt great all of a sudden. I felt this new reality. When it disappeared, I felt like, “It’s gone. How do I make sense of this world where I’m disconnected? I don’t feel connected anymore. I don’t feel there’s a magical space. I don’t feel we’re all one. I don’t feel it’s all love.”

You have this accident. You have this existential experience. This is what I’m hearing. Immediately you’re going out to find out and discover what that was like, “I experienced something.” You started going down this path of like, “This had to have been this God in religion,” and it seems you eventually discovered that was in your belief. You felt like that wasn’t it. You think that is what caused that gap between 18 and 24, 25?

I think so and also, the power of the environment. You’re in one environment and suddenly, you’re in a completely different environment. I was in a foreign environment. I didn’t have any real support mechanisms for me. I didn’t have friends like I did in high school. I was in a new state, a new school. I had always gone to small, private schools. Now, I’m in a big university, Arizona State University. I felt isolated.

When you discovered music again, you mentioned that you felt that feeling again of the bliss. What was that? You said you were able to figure out what that was.

That came about three years into the musical journey. I started music at 24. At 27, I was reading Eckhart Tolle’s, The Power of Now. I’m a spiritual person, but I don’t believe in gurus. It’s all within us. That book, the words were presented in a way that let my mind slow down. Literally, zero. I could see everything. I could pull back all the way into the cosmos, look down and see stillness. That experience, the best thing I can describe is that chemically something happens in your brain. That’s probably all it is. It’s a chemical cocktail where you’re either flooded with dopamine or serotonin. I’m sure experts in that field could talk about what bliss consciousness is. Literally, something happens in your brain where there’s this buzzing sensation. Things have a glow to them. It’s almost like watching something in slow motion, similar to in my accident, that slow motion feeling. Life goes at that slow-motion speed. You realize, “There’s no space for worry here. There’s no space for fear here. I can totally sense my entire being, all my energy. I can sense that my energy is the same as the life force of this entire universe. It’s all one.” That feeling gives you an incredible sense of peace and connection.

You experienced that when you were 27 years old. It related back to your accident. Is that a similar experience?

It took me years to even understand that. It took me probably until I saw that parallel, that I had one more experience where I went into bliss consciousness. I can connect the dots looking back these three points and say, “That was all the same thing.”

How has bliss consciousness played a role in your music career and your speaking career? How is this all building up to each other?

Building One Dream To Support Another: I want to be more peaceful. I want my music to reflect how I want to feel.

What it’s done is created that intention. You get a glimpse into that window. I saw it at sixteen. I saw it again at 27. In between there, when I got out of it, I was an angry person. I had to work through a lot of stuff. I was the exact opposite of bliss. My music was angry. You get enough venom out and you’re like, “I don’t want any more venom in my life. I don’t want my music to be venomous. I want to be more peaceful. I want my music to reflect how I want to feel.” There was this point when I was living in New York City. I woke up one night and I was like, “I’m going to create this project called Songs For Oprah. I’m going to make songs that are about having a positive difference. I’m going to send them to Oprah. I’m going to donate proceeds to charity. I’m going to get on her show. She’s going to be a partner.”

I had this idea. Every week I wrote a song and I recorded the music video. I would send it off to Oprah’s default contact box. Somehow, at that age, thinking I was going to reach Oprah. That project was the first time that I set out a conscious intention and said, “I’m going to create positive music with a goal to inspire people through music.” These songs can be a catalyst for them in their life to have something positive, something good other than the music I had been making.

How long did you do that for? How many songs did you send to Oprah?

About my week six, I was like, “I’m not reaching Oprah.” I stopped sending them to Oprah, but I kept sending them to my fan list. I kept doing the project. I kept calling it Songs For Oprah. Instead of a year, I made it 23 weeks. I made it about half the time. That was a letdown. I was disappointed in myself but I was also proud of myself that for 23 weeks I wrote a song, I filmed a music video, and I recorded that song. That’s a lot to do and I was proud of myself.

When did this happen inside of your timeline?

It was 2008.

What happened after 23 weeks and Songs For Oprah disappeared?

I felt a little bit of discouragement in that. I also felt I had learned something. I learned about what it meant to have a definition of my life, to have a purpose. I couldn’t go back. Once I’d made 23 songs with that intention, it was clear. That’s my jam. That was home base trying to speak my truth, speak the reality that I want for myself and that I want to share with others. That’s got to be in the music. It didn’t stop. That doesn’t mean that I didn’t write songs that I didn’t have that in it, they don’t always. Not every song is some positive Tony Robbins type thing. There’s always that intention that I want to leave the listener feeling better than when they started the song. The intention that they can move through something. If they’re going through a relationship, they can identify with the struggle within the song. They can feel a bit of catharsis by the time they’re done listening.

What were the next projects after Oprah? In your mind, where was the vision going?

That sent me into realizing that I didn’t know how to market. I hadn’t reached out. I didn’t know anything about that world. I started diving into internet marketing. I spent the next two and a half years going really deep. I did things like Product Launch Formula with Jeff Walker, Experts Academy with Brendon Burchard, and List Control with Frank Kern. I tried to figure out how I could create funnels online, grow a fan base and monetize this. What I found is that I struggled to make that work in the music world. I had yet to find out how to sell it like a service. I continued on that path, that inquiry. That’s part of why I started doing some more conferences this year. It was like, “I’ve got to figure this out.”

That takes us into a broad jump. In the interim from 2008 to 2016 when I put Echodrive together, it was a phase where I became aware that I had a good intention behind my songs, but they weren’t good enough. I wanted stadium-level, Billboard number one hits. I realized that I had more work to do. I started taking a deep dive into songwriting and teaching songwriting. For six years, I taught guitar and songwriting. I’d have to learn the top hits that kids wanted to learn like, “How do I play Someone Like You by Adele?” It’s like, “That’s a great question. Let’s figure that out.” Writing out the structures of these songs, I had to teach them the lyrics and the parts. I began to see all the pieces of how to create and hone a great song. That got me up to a point where by the end of that time period, I knew how to write a good song, but I still had not created the sonic texture that I wanted. I was creating rock songs. They’re good, but I wanted Pop. I wanted anthems that would blow people out of the water.

I decided that I would, for one year, do nothing but play and sing cover songs. Although I’d taught these songs hundreds of times and I’d hand-written out the lyrics, I had not sung those songs hundreds of times. I hadn’t internalized those melodies to a strong enough point. I spent from 2017 to 2018 playing 100 shows down in Phoenix. By the end of that time period, I had a strong internalization of pop melodies. That is when the songs that I sent you and that I would share with your audience off my album, that sound was born.

I wrote down the perfect song or the perfect melody. You’ve been studying it in some form for quite a while. What is it that makes it up?

There is no perfect answer, but I’ll tell you a few of the frameworks. One is to know your structure. That is the order with which a song takes place. You have things like the intros, verses, choruses, pre-choruses, bridges and the transition segments. The craft of hit songs is methodical in those. It’s not like they sit down and are guessing about it. It’s like, “We’re going to have an eight-bar verse. We’re going to have a four-bar pre-chorus. We’re going to go into a sixteen-bar chorus. We’re going to have a two-bar musical transition.” It’s methodical. There are a few of those frameworks that are common in songwriting and a few of those structures. There are a few chord progressions that are common. It doesn’t mean that they have to be but like an I-V-vi-IV chord progression. It means that it’s picking out of a key in order to the chords that have been used. This one progression, for example, like Someone Like You by Adele. It’s also Demons by Imagine Dragons. It’s also I’m Yours by Jason Mraz. We could find literally thousands of songs that have used this progression and it’s pleasing. It works well. When you want a big, major, key pop hit, it’s a great place to start.

What have been the major inspirations for you? Can you remember the first song that you studied? It started to make sense when you were able to connect the dots. I like to ask these a-ha moments when you discovered that there were patterns. You obviously connected those three songs, Adele, Imagine Dragons and Jason Mraz. Was that the first one that you were able to connect with those progressions?

I can’t remember the first lesson that I taught. I would hand transcribe. I knew that that was important. I don’t know why. I could have typed it up, but I knew that I needed to take my pen and write these out for my students on one sheet, an 8.5×11 piece of paper. There’s always a few times where you’re like, “Those six songs I did, all those verses were four lines long. They all used an alternating rhyme scheme. Three of those were I-V-vi-IV chord progressions.” I taught hundreds of these songs. It didn’t take too long where it was like “Here we go, here’s another two-line pre-chorus that’s going into an eight-line chorus.”

How long were you teaching music? Was that from 2008 to 2016?

2010 was when I moved to Montana. I had been in New York City. I was trying to do my own thing. I dove into internet marketing. In 2010, a few things happened where I couldn’t go back to New York, despite the fact that I desperately wanted to. I had to tuck my tail between my legs and go live with my mom in Montana to regroup. From that time period, it was like, “Here I am in Montana. I’m not where I want to be. I want to be in New York. I don’t know what the heck’s going on in my life. Things feel like they’re falling apart.” I said, “What can I do? What’s the one thing I can do?” I was like, “I know music. I can start teaching it,” and that picked me up. It let me get back into songwriting and dig deep into the study. That lasted from 2010 to 2016 when I got sick.

This was one reason why Maggie’s interview was so cool. I had a serious health crisis where I couldn’t get out of bed one day to go teach. I would have probably kept teaching, but I could not. I had to stop working. I couldn’t do anything. I was losing weight. My body wasn’t absorbing nutrients. I thought I was dying. I’d even let go of music in that time period. I had to surrender everything and try and start getting healthy. In that process, before I put a band together, I played shows as much as I could, stayed up late and I stopped eating healthy. I was like, “I don’t care if it’s gluten. I’ll eat gluten because I’m trying to make my dreams happen. I’ll eat anything, burger and fries at the end of a gig. Sure, sign me up.” We discovered a mold in our house. It was a perfect storm where these things were pushing me. The mold in the house did something to my body where I was a flat line.

I let go of everything. I was spending money out of pocket. I didn’t have health insurance. They wouldn’t have paid for it anyway. I didn’t ever get real answers, honestly. All they could tell me was like, “Your thyroid’s acting out, but we don’t know why.” I was trying to do everything. Like Maggie said, “Try and do it all myself.” Finding guys like Chris Kresser like, “I’m going to do a Paleo Diet. I’m going to figure this all out on my own.” I did get better, but I’m still not 100%. In that space, when I completely let go, an opportunity came to do some commercial scoring. That provided me with an income level that let me make this jump to go down to Arizona. To get into a big market with six million people where I could play as much as I wanted to, start to earn some serious money, and also get better. I wanted those stadium-level hits.

Building One Dream To Support Another: There are a few frameworks that are common in songwriting. It’s methodical.

What is film scoring?

Scoring is usually orchestral, but all it means is putting music to film. Film scoring would be a film. Commercial scoring would be commercial. We were doing mostly commercials. I got to do an Arnold Schwarzenegger commercial. I got to do a Jackie Chan commercial. As a kid I was like, “I love action movies.” Arnold was one of my biggest heroes. It was cool to be able to do that. Orchestration’s always been a huge thing to me and I’ve always wanted to blend it with pop. On this record, that’s what I’m doing. There’s a lot of orchestration mixed in. In a way, it was a genesis of this sound that I’ve created.

When you were 27, you were going through bliss consciousness. You went through this period from 2008, Songs For Oprah, you were teaching music, and internet marketing. You’ve got this dream of music. That feeling of bliss consciousness, how does that translate into what you ultimately want to do, which is have a top song or top single?

I talked about how it comes and goes. I had another experience in 2008 where I got back to that state. From 2008, it was gone. I stopped meditating. I wouldn’t say it became unspiritual, but I was like, “Whatever, I’m living life. I believe there’s greater stuff out there, but I’m not going to be tied to anything.” I’ve gone through a lot of depression in my life. In the period from 2010 to 2016, there were a lot of peaks and valleys. I wasn’t meditating. I might have done it every now and then. When I went down to Arizona, I’ve got to mentally become stronger. I wanted to career-wise become stronger. I wanted to have my health be stronger. I needed to be mentally tougher and not let my perceived defeats have the power to knock me down so much.

I began trying to bring in more mindfulness, even if it wasn’t meditation. When I started to feel my brain chemically going to a place, like what depression feels like in my brain. There’s something that happens, the serotonin uptake, the dopamine, it’s not happening. What can happen is the thoughts will rise. You’ll start thinking negative thoughts and then the emotions compound. I said, “I’m done with that.” If that starts to happen, I’m going to try and be okay with it. I’m going to be okay with what’s happening chemically in my body. I’m going to look for gratitude. I’m going to look for something that I know I’ll weather this. This will pass. I’m okay. I won’t call it depression. I won’t let it win. I’d say, “Above and beyond anything, I’ve started to meditate more and get centered regularly.” It was happening and I was like, “I’ve got this interview with Joel. I’m not going to let it win.”

I was asking if your mindfulness played a role in the type of music that you wanted to create, that you are creating.

It does, without a doubt. I want to reach people and inspire. I believe music is powerful. When there’s that emotion, I see the dark. The song can honor and recognize that pain, but it can move through it. That is ultimately what I’m trying to do every day in every moment. If I start to feel depression coming in, overwhelm, it’s a moment by moment process of being like, “Andrew, this is a choice.” You have a choice of how you’re going to interpret this and the meaning you’re going to put to it. That doesn’t mean we’ve got to push feelings away, push sadness away. That’s real but it’s like, “I can be sad, but I can also not be crushed and devastated that I allow it to control me.” I can sit with it and I can honor it. That’s ultimately what I want to bring in my music. You have a dream. You feel that inside of you. You listen to a song like my song, Dreamer. At the end of that, tears are streaming down your face. You feel like, “I’m going to push more for my dreams. It’s been hard. It’s been rough, but I believe in me. I’m going to stand up for that.” There you go.

When did the opportunity of becoming a transformational speaker come up? How did that come about?

When I was at Experts Academy, one of his things is his accident story. As I sat there, I was like, “This guy is telling my story.” The kid that has an accident sees his life flash before him. I was like, “I can do that. I’m going to be a speaker. I’m going to have my own events. I’m going to be the next Tony Robbins.” At that moment, I developed a personal development course. I was gung-ho. I was going to share this message. When that completely flat-lined, out of my entire list I got two opt-ins. It was an utter failure. It crushed me because I felt that I had redefined myself from that conference. I came out with a new plan of how I could use more of my story and more of who I was in my music that I could integrate it in together. Flash forward, I have that moment. I went back to music, I gave up on that. I was like, “You’re not meant to be a speaker, Andrew.”

I found this guy who is a speaker and a musician, and he was crushing it. He started at the same time that I did and he was at Experts Academy. He was doing Product Launch Formula and I was like, “What the heck?” That triggered in me again. I was like, “Maybe it’s time to dust off that space where I felt like, ‘I guess I failed at this.’” I’ve been speaking on camera for twenty years, I started as an actor. I taught lessons on camera. I was always speaking. I was always encouraging and rooting for people through my different online programs, whatever it was I was producing, and in my music.

I hired this guy and I got in his mastermind. That was the beginning of this second leap that I’ve jumped off the deep end in a way that I never had before. I’m starting to get those materials together, start speaking. The last was all about cover songs, playing 100 gigs and internalizing that to get songs that were at a level of being stadium-worthy. I said, “I’m going to enter into an income bracket. If I can use speaking in that message and share in a more 360 degrees way of which I am and also have the income to triple what I made last. That will give me a huge leverage point to keep investing back into my business and growing this music to the place where I want to be, ultimately playing stadiums.”

The stadium-worthy song is still the end goal. Inspirational speaking is the way to help support that. How are other mainstream bands getting those stadium-worthy songs? I’m asking this because you know internet marketing, digital marketing, info marketing, Experts Academy, all this other stuff, which not all of our audience will know that. I’m asking because you know that space well. Is there anybody who teaches how to get a top-performing, mainstream, stadium-worthy song?

Teach songwriting, for sure. There are guys who are using the internet marketing model. A great example is Graham Cochrane. He’s making $70,000 a month. He’s teaching people how to record. That’s his thing. It’s called the RecordingRevolution.com. His thing is that he’s like, “I don’t care if you’ve got an iPhone or the cheapest gear there is. I can show you how to hone your ears, to hone your mixing skills, and to create sonically great songs.” There are people that are doing that in a songwriting sense too. Some of these guys that have written hit songs, they’re putting on master classes to teach songwriting. More and more musicians are jumping on the internet marketing bandwagon. I can’t speak to the quality of all their programs because I haven’t been in all of them.

We had a guest, Dr. Lindsay Padilla. She found this whole other community that was out there of teachers selling their lesson plans. She was teaching these teachers, her fellow co-workers, this whole other industry of the education space and the info marketing space. I’m curious to see how this translates to all the other industries. I know it’s there for the music. It’s there in almost every industry, it’s just how big is it going to get? The teaching space, the higher education space, is slow to act. Maybe you can be the guy who teaches the formula on how to get a mainstream pop song.

One thing I resonated when Branden would talk, he’d say, “I wouldn’t teach my Six Pillars until I’ve made $1 million in each one.” I feel I’ve got these hits. Until I go and make them Billboard hits, or I reach that level. I don’t know that I’d stand and say, “I can teach you.” I could teach you skills, no doubt, but that social proof of like, “I’ve got a Billboard number one hit. I’ll teach you how to do it.”

Marketing is everything. You have to understand how to get your message out there and discovering what your superpower is. How are you going to attract more people to follow you? It’s always evolving. Social media, internet marketing, you name it. What’s the one-month plan? What’s the three-month plan? What’s the yearly plan for you? What’s next?

Building One Dream To Support Another: I know what I bring to the table. I know what I’ve got. I know that I will continue. As a door opens, I will step into that opportunity.

I’m not even certain. When I got into this speaking space, the plan was to spend this year and book as many speaking gigs as I can and use that to bankroll the music career. I’m still going through this mastermind. My coach, he moves at a certain pace. I’m trying to move at my own pace and then also he has his pacing. I don’t know how this year is going to end. I know what I bring to the table. I know what I’ve got. I know that I will continue. As a door opens, the opportunity here, I will step into that opportunity. Opportunity over here, if it’s in alignment, I will step into that opportunity. It’s to spread my music and message in as many places as I can. This interview, I’m glad and honored to be here. What you are doing to let experts share their message. You’re championing those people, to share their work, and what they’re doing. It’s a wonderful opportunity to be here and be able to talk a little bit about my journey. Thank you for that.

You’ve got an inspirational story that the message needs to get out there. It’s fun because once you hit it mainstream, I’m going to definitely use this podcast to like, “He’s on the show, Andrew Hand of Echodrive.” We’ve had an amazing interview. We went through your entire journey of this discovery of mindfulness and this discovery of music. There are some very important elements during your entire story. When you were seven, you were listening to U2 and R.E.M. Your brother told you to stop at nine. You had a gap there until you had your accident and you discovered the state of bliss consciousness.

You’re 24 years old until you rediscovered music in GarageBand. You’ve found a passion with that. You did Songs For Oprah. You jumped into the internet marketing game with Frank Kern and all these other experts in that space. You were teaching your courses and you’re teaching music. Ultimately, leading you to where you are. You’ve got your band Echodrive and stadium-worthy music. You’re also doing speaking to help support that. Where can we find you? Where can we listen to Echodrive? Where can we support you?

There are two ways. They can go to EchodriveBand.com. On the funnel, you can opt-in there and you’ll get the first planned single off my album, A New Dawn, that song is called Gold. They can also text the word ECHO to the number 38-470. Either one of them will get them the goods.

Spoken like a true internet marketer.

They’ll get to know me even better because there are parts of that story that haven’t been shared. Conversation is the biggest thing to me. When I start internet marketing, you’re spamming and like, “Get my stuff. Check this out.” It’s like pitching all the time. I was like, “Let me share myself with you. Let me tell you a little bit about who I am. I want to hear from you. Tell me about who you are and let’s have a fun journey together.”

I want my audience to go check out Andrew. Go follow him. Head over to his site EchodriveBand.com. Reach out to him. Let him know that you heard him on Experts Unleashed. Go support him. Andrew, thank you so much. Thank you for sharing your story. We’ll see you in the next episode.

Thank you so much, Joel.

About Andrew Hand

Andrew Hand is a transformational speaker and recording artist with a message of hope, love, and self acceptance. His purpose is to help others see their greatness and inner light. To learn more about his work, visit AndrewHand.com

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