Ryan Auhl – Building Relentless Beats, Event Safety, and Global Expansion on the Virtual Sessions 9/3/25

Summary

In this Virtual Sessions episode, Ryan Auhl joins host Darran Bruce from Phoenix to talk about his role as a partner at Relentless Beats and the journey from small-scale events to producing over 500 shows annually. Ryan reflects on how he started working with founder Tom Turner in 2010, growing from freelance design work to co-leading one of the largest independent promoters in the United States. What began as a hobby evolved into a full-fledged company producing massive festivals like Gold Rush, Decadence, and Phoenix Lights.

 

Ryan shares how Relentless Beats operates in multiple markets, partnering with local teams in Albuquerque, Honolulu, and New York while keeping Arizona as the central hub. He highlights the thousands of people it takes to pull off large-scale shows, describing them as “traveling circuses” that come together for just a few hours but require months of planning. For him, success lies in constant questioning, improving processes, and remembering that the industry is ultimately a people business.

 

The conversation touches on event safety, which Ryan calls a top priority. He outlines how security, medical staff, fire departments, police, and Relentless’ own Rangers collaborate to ensure fans make it home safe. He also addresses ticket prices, explaining that revenue goes directly into paying the artists, crews, and infrastructure that make these productions possible.

 

From stories of streakers at Phoenix Lights to the debate over cell phone use at concerts, Ryan reflects on the culture surrounding live events. He shares inspiration from artists like Zedd and business leaders who shaped the U.S. dance music boom, while also expressing excitement for new destinations and food adventures with his wife. For Ryan, the most rewarding part is seeing fans connect with music in safe, unforgettable environments.

 

Topics

0:20 – Moving Gold Rush back to Rawhide and creating immersive Western town vibes
2:30 – Scaling from 50 to 500 events a year with Relentless Beats
4:48 – Partnering with local teams in Albuquerque, Honolulu, and New York
6:06 – Starting by accident after college and growing into the role
8:17 – Motivation to pursue event production and early milestones
12:30 – Best advice received: always ask questions and keep improving
14:29 – Multi-pronged approach to event safety and planning
18:43 – Five essentials for a dream event: talent, site, production, food, transport
27:38 – Meeting inspirations like Zedd, Lee Anderson, and Paul Morris
35:59 – Wild moments like the streaker at Phoenix Lights 2017

41:14 – Phones at shows, audience culture, and promoting presence

Call to Action

Discover upcoming festivals including Gold Rush and Decadence at relentlessbeats.com.
Follow Relentless Beats on Instagram, Twitter, and Facebook @relentlessbeats.

[Darran]
Hey everyone, welcome back to another episode of the DJ Sessions Presents the Virtual Sessions. I’m your host, Darran, and right now I’m sitting here in the virtual studios while I have Ryan Auhl coming in. I’m gonna guess Phoenix, Arizona?

[Ryan Auhl]
It is Phoenix, yeah. We’re in Midtown if you’re familiar.

[Darran]
No, I always love saying Phoenix, Arizona because it sounds like I’m saying like Krypton, you know, something out of a sci-fi movie. I’m a sci-fi buff, so I remember it was the movie Lost Boys, and then one of the main characters, the kid, he’s like in the comic book shop talking to one of the one of the Corys, and he’s like, where’d you come from? He’s like, we came from Phoenix, but luckily we moved here to Santa Carla.

He’s like, sounds like something out of a comic book, man. Yeah, I came from Phoenix. Oh no, I’m from Phoenix, actually, or something like that, you know?

[Ryan Auhl]
I think whoever named this, this place is hot. Maybe it’s hot like a Phoenix, but it makes for like a cool city logo and stuff. I’m all about it.

[Darran]
Yeah, you know, what is the temperature down there, like 118 or something?

[Ryan Auhl]
We’re in the 100s still, but like any true Phoenician, it is a real dry heat, so if you have a pool, you get used to it.

[Darran]
Everyone has a pool. Usually everyone has a pool, but enough about Phoenix, the weather, and all that stuff. Ryan from Relentless Beats here with us today.

Super, super fun time, super awesome events. Been to a couple of those a few years back, looking to come to more. Want to give a shout out to Chad for setting up this interview and talking with you today.

We’re here to talk about one of the premiere events that Relentless Beats puts on down in Phoenix, Arizona. I’m assuming it’s still at the Raceway out there in Goodyear, right?

[Ryan Auhl]
No, it actually moved back to Rawhide, which I can talk more about. It’s honestly great because the whole show is conceived around the Western town that’s at Rawhide, so I think fans are getting the real experience again now that we’re back over there.

[Darran]
Well, now I got to come down and see it. I got used to the racetrack. Much better now.

Awesome. I never totally felt that Rawhide, that country, Western kind of vibe to it, but you’re right. The racetrack probably isn’t going to have, like you said, wow.

I don’t even know where that town is. I’m not familiar with the Phoenix landscape out there, but I know it’s vast.

[Ryan Auhl]
Yes, it’s big, it’s flat. Technically, the show’s actually in Chandler on the Gila River Reservation, but we call it all Phoenix if you’re from here.

[Darran]
Yeah, when I was finding out that Phoenix is like 100 miles long. Basically. Like 50 miles long or something like that.

But you started with Relentless back in 2010, you mentioned pre-show, and you went from 50 events a year to 500 events a year. I mean, 500 events a year.

[Ryan Auhl]
Yeah.

[Darran]
That’s like technically 10 events a week. It is probably more than that. I don’t know what the timeframe is squishing it all in.

The first question is, when do you ever get time to sleep?

[Ryan Auhl]
Thankfully, we have a great team. So look, a lot of my role is focused around our largest events like Old Rush and Decadence, but you’re right. I mean, we’ve got a big team.

We’ve got a lot of shows. We’re in multiple markets now, whether it’s here, Albuquerque, Honolulu, even some shows in New York. But at the end of the day, what’s wild about dance music is they’re all clustered around the weekend.

So even though we have Monday through Thursday or Sunday, all the shows are on Friday and Saturday, basically. It’s been great growing with the team. My partner Tom’s booked dance music for a long time, as far back as the 90s, so we always had good momentum.

But the reality is in 2010, dance music was only so popular. So to do 100 shows a year or 50 shows a year was a lot. And now we’ve just continued to meet that demand here in the Valley.

[Darran]
And your partner companies that you work with when you put on these shows, I mean, obviously, there’s the industry. A lot of people don’t know. This is what I love about us opening our doors and our microphones, our live streams to people behind the scenes, not so much in front of the scenes.

It takes a lot to put these on, but it takes a lot of awesome partnerships as well to make these events happen. Who are some of the top people that you work with in the industry to make these events happen? I mean, now that I know you’re in Honolulu, I’m knocking on the door for those ones.

And definitely experts only out in New York, looking at possibly covering that here. It’s going to be awesome. But these shows are 500 events in Phoenix.

If somebody heard that, they’d be like, whoa, what’s going on here? But branching out, putting it together takes a vast team. I mean, people understand there’s lighting, there’s audio, there’s engineering, there’s maintenance, all this stuff.

I mean, is everything centered out of Arizona or do you have teams out in different regions as well, on-site teams there to help facilitate all this?

[Ryan Auhl]
It’s a mix of both. Here in Arizona, our Phoenix office basically runs these shows. So if you’re going to a show in Tucson Flagstaff or Phoenix, it’s ran by our Phoenix office.

If you’re going to show in Honolulu, it’s mostly run by our partner out there, Meta, which is head up by Brandon and Matt. If you’re going to show in Albuquerque, that’s ran by Viva ABQ, which is led by Steven. And if you’re going to one of our EMW shows in New York, that’s ran mostly by Max and Kevin, who are our local partners over there.

Now, that’s to say, as promoters, we only do just the planning and the promotion of the event. We rely on so many people to make these shows happen. And in fact, every single time we host a big event like Gold Rush or even one of our large concerts at Rawhide, I’m always telling the team in our pre-show brief, thank you to everyone who makes these possible.

Because believe it or not, yes, there’s tens of thousands of fans in some of these shows, but there’s also a thousand people working. And the amount of time it takes to plan these things and then get everybody in the same place to actually execute it is mind-boggling when you think about it. These really are traveling circuses that come together for eight to 10 hours at a time.

[Darran]
Yeah. And you have obviously an awesome relationship after working with Relentless Beats for so long. How did you get started in this industry?

[Ryan Auhl]
Total accident. I mean, I graduated college in 2011. My class was kind of at the height of the recession still, so a lot of people in my class didn’t have offers.

I met Tom Turner just through some mutual friends and started to do some freelance work for him. Even back then, Relentless Beats was like a hobby for him. He was a dance fan for many years, but couldn’t make a good career out of it.

But look, I just ended up at a point where I didn’t have a job offer, and I knew he needed help, but he probably didn’t know how to convey it the right way at the time. So I just said, hey, if I help you make this work, can I turn this into a job? And that’s been our relationship ever since.

I mean, obviously, the company is a lot more complicated now. We have a ton of employees. We have lots of events.

But we’ve always been partners in that way. My goal is just help grow the company, make the shows better every year.

[Darran]
How many partners are there with Relentless Beats? That’s your actual official title you put down there in the corner there. Is it a partner that controls each market, or you’re the partner at the office?

Like Jeff Bezos is number 13, and then Tom’s number 13, and you’re 12, and you have a 0012 or whatever. How does the hierarchy work? Is that non-NDA information you can’t get?

[Ryan Auhl]
No, no, no. Look, I mean, Tom and I are partners here. We’re partners in Relentless Beats.

But the people that I listed in the other markets, they’re actually separate entities. And so we’re co-promoting those shows with each of those respective markets. But here, in terms of all the booking, all the buying, all the advertising we’re doing here, Tom and I are partners here in this market.

[Darran]
And not just trying to get a job in the marketplace, and coming out of a recession in 2011, I know how that was. It hit my company pretty hard as well, being in advertising, and then there being no money for advertising, trying to launch a business during a recession to small businesses, and nobody’s getting credit, and nobody’s spending any money. Yeah, I was an awesome brainchild there with two business degrees under my belt.

But what was your strongest motivation to pursue a career in event production? Was there something that, rather than using just your skills maybe you learned in college, was there some other aspect of it that said, I like doing this?

[Ryan Auhl]
Honestly, I just thought events were cool. I hate to say it so simply like that, but I first started doing some contract work with Tom, and I made a revision of the logo. And then when that logo came out, it needed a website.

And over time, that just snowballed into more work. It was not until 2011, 2012 that I was like, hey, I think we can make something out of this. But I didn’t even know what a promoter was until probably 2013.

And that’s when we realized, oh, we’re just not in clubs anymore. We’re doing concerts. We’re doing tours.

We’re doing large shows. And that really changed our perspective on what this business was. Because prior to that, if I’m being totally honest, I just like going out and having fun.

I met my wife at one of our shows. So many of my friends I’ve met through the shows. For a long time, it was like my social life and my identity.

So it’s cool to have that as a foundation of my career, because I think it’s honestly a dream when you get to say it out loud like that.

[Darran]
I’m wondering if you might have the same one tough thing that I have when I go out to events and shows. I know my friend who’s a lighting designer has done some big shows in Vegas and is really great at what he does. He’s climbed up the ladder in that realm.

But is it hard for you to go to a show that’s not a Relentless Beats show and not look at it and say, I know what’s going on there. I know what’s going on there. I know what’s going on here.

And I, oh, gosh, I can’t believe they did that. Or do you actually go on site to maybe other shows? That was really cool.

That was really cool. That was really cool. Let’s bring that into our show.

[Ryan Auhl]
I mean, first of all, did you talk to my wife? Because that’s exactly what the experience is. And I feel bad for her sometimes because she has to listen through that.

But I think in some way, she does appreciate it because she’s seeing how the company has grown too. I will say actually, my favorite experiences aren’t going to dance shows that I know is the DJ theme show. I love house music.

I’ll say that just to preface this. But at the end of the day, like we’re all doing entertainment and any idea I can get from any good show, any tour, whether it’s Taylor Swift or Madonna or anybody in between is valuable. And those are things that I always want to be bringing back to our shows to improve them.

[Darran]
Yeah. It’s hard for me to be at an event and be like, why am I not filming this? Why did I not set up interviews?

Why did I not be backstage? It’s not about me going backstage and I’m getting a hobnob. I’m thinking I’m missing an opportunity to get content for my show right now.

It’s never off. You just can’t turn that off. And it’s like, why isn’t somebody streaming?

That’s what started me in kind of all this. I’d go to the nightclubs and realize everyone would talk about, wasn’t that a great show? Wasn’t that a great show?

Or you missed it. You missed it. Nobody was recording this.

Well, we didn’t have YouTube. I started this. You know, even when I was in broadcast television, I might be able to make a 28 minute, 30 minute segment to put on broadcast television.

So it was a lot of B roll clips of what you see now and some interviews late night at one 30 in the morning when most nightclub people are up anyways, right? But it’s like, how come nobody’s bringing a camera into the club? Or why don’t they have an onsite production team doing something that’s highlighting the event and talking to the artists?

So we came in and kind of facilitated that need here locally in Seattle, but then later branched out and did more interviews. Had our mobile studio that we created so we could drive up to events. Actually, one of the events here in Seattle was the first launch of our mobile studio in 2010.

You probably know the company that did it, but it was called Freak Night and we pulled our truck up inside the Walnut Theater and parked it inside. People were walking by and they’re like, what is this big glass box truck with DJs playing in it and everything? And learned really quickly there that streaming live when there’s nobody around in an event center is easy to do.

When there’s 30,000 people hitting the cell phone tower, not so easy to do. It’s a whole other problem. Now we got a special backpack that connects us to satellites and all that fun stuff.

But that being aside, yeah, it’s always something that you see that’s new or pushing the envelope or doing something better. It’s hard to turn off when you’re in… When I’m in the seat, when you’re in the seat, I’m sure it’s the same.

But out of all this, over the past 10 years, what’s the best piece of advice that you’ve ever been given? If you can recall something that says, I learned this, I practiced this, somebody told me do this. It can be anything, but what is it for you?

[Ryan Auhl]
Honestly, it has nothing to do with this business in particular, but I would say always be asking questions because I’m just the kind of person, I always want to be improving things. I’m obsessed with making our products better, our shows better. If we can’t do more shows, that’s great.

But for me, everything starts with just asking questions all the time. And I was definitely that annoying kid that would not stop asking questions. So it’s basically just persisted into adulthood for me.

[Darran]
Yeah. I’ve always been the inquisitive one in the room or the one who talks a lot. But I try…

I don’t want to say… I don’t want to use the word neurodivergent, but there’s times when people will sit back and go, Darran, you’re being really quiet. And it’s like, yeah, because I’m listening to everything that’s going on so I can sit back here and process it.

And then two, I have friends of mine that have known me for 30 years in the business, and they’ll be like, okay, give me the Darran Dump. And it’s… I’m already calculating year upon year, two five-year-old statistic numbers in my head.

And they’re like, how are you multiplying that so fast in your head? Do you have a calculator built in you or something? I’m like, no, it’s really easy.

You just move the zero here and multiply it by this and put it like this and then times it by 10 and then add two times months. And they’re like, whoa, dude, what are you doing? Did you get all that?

That’s why this can be done.

[Ryan Auhl]
The other thing I’ll say is there’s a million ways to be in this business. I think at the end of the day, anybody who’s involved has a true love for the music and the shows. But whether you’re working in media, or you’re working in the production, or you’re working on the talent side, there’s so many businesses that come together that provide opportunities for people to get involved.

And at the end of the day, those are the best people to work with because there’s nothing worse than talking to somebody who doesn’t know what dance music is or doesn’t care or hates it or is going to be miserable at night. But the other day of like, we’re all fans, we’re excited to produce good shows that makes for a good product. And I think the fans feel that at the end of the day.

[Darran]
Definitely. And you know, one of the biggest things that I’ve seen come up over the years, time and time again is safety at events.

[Ryan Auhl]
Yeah.

[Darran]
Who do you have an internal relentless safety team? Or do you work with an outside company for safety at the events? I mean, obviously in Phoenix, but I’m sure the other events have different teams that are called different names around.

But how important is safety at your events? And what what measures do you take to imply imply? That’s what I’m looking for there.

And I just I just had three words pop into my mouth in one time and to implement Thank you implement safety at Relentless Beats events.

[Ryan Auhl]
Yeah, look, I mean, we welcome nearly half a million fans through our gates every year across all the shows. And so you know, the second thing that gets said at every single one of these brief brief meetings is let’s sure makes everybody makes it home safe tonight. And as a result, within our company, like we really do treat safety like a multi pronged approach.

This isn’t unique, like all major producers look at it this way. But you know, our person who helps coordinate the public safety, that’s with PD and fire and medical, it’s the same person who helps coordinate the security. And it’s the same person who helps coordinate our safety team, which is our Rangers.

And all those different groups work together to help us produce a safe event. I mean, at the end of the day, it all comes from good planning, right? So a poorly designed site will end up being dangerous, no matter how few or how many people are there.

But in a, in a well designed site that we’ve worked on for a long time with many different professionals and consultants, those five groups all working together, the goal is everybody gets home safe every single time.

[Darran]
You know, and sometimes people complain, they like, Oh, my gosh, the ticket price for this is so much, but they don’t understand it takes a almost a small town to put these things together, you know, and people do have to earn a wage to do this, you know, and people just go in and they’re like, well, it’s so pretty and awesome. And then they like, Oh, but it cost me 200 bucks to go. It’s like, yeah, you know, it’s, it’s a major production that’s being put on this isn’t just going out into a renegade in the woods, you know, not that I don’t knock renegades in the woods, have fun people doing that.

Be safe, safety first.

[Ryan Auhl]
But yeah, I’ll say, you know, I always tell people that don’t like really understand what I do, like, just think of it as a people business. You know, we don’t actually make something we don’t we don’t tell something physical, right? So everything you see in the show is like something that’s been rented or purchased, but like really being put up by a bunch of people, you know, the people that run the bars, the people that are in the technical production, all the teams that are behind the artists at the end of the day, when you’re looking at that ticket price, like what you’re paying is for a lot of people to participate.

And yeah, the way the business is structured, like talent gets a lot of money, but the talents, the creative part, like the reality is none of us would have good jobs if there wasn’t talented people out there making music. So I look at it like, you know, when you when you see a three or $400 ticket, or even a $20 ticket, like just know that that’s going to real people. And they made the music you’re going to listen to they help put on the show you’re going to go to and like, that’s where it’s going.

The margins for all these businesses is not great. Like, maybe I would love a margin like Apple or Google or one of these tech companies. But the reality is like, you know, we’ve got to sell food and beverage and merch and programs and parking and all those things to sort of like just make a little bit of money at the end of the day, like most of your ticket, like always goes into the show.

And it’s people at the end of the day.

[Darran]
Exactly, you know, and you probably, it would be scary if companies like Relentless, I’m not sure if you are or not. Maybe I should look into that because you’re seeming to be growing and would be a great investment. But they’re not publicly traded companies.

So you’re not really disclosing what exactly the profit margin is off of these tickets. You know, it’s like, people know McDonald’s makes pennies on the burgers and stuff, but they’re selling so much in volume that that’s how they make their money. You know, they’re not selling filet mignons with five star Michelin chefs, you know, stuff like that.

But, you know, great experiences, great times. You know, if you could host your own event and have without any limitations, like budget is, you don’t have to worry about budget. It’s all going to be there.

What five things would you want to have at that event? And maybe it’s nothing that isn’t there, or maybe something you already do have, or you want to improve upon that as well.

[Ryan Auhl]
Yeah, I always think of events as like, it’s a combination of music. So the talent, it’s like the most important part of any show, I don’t care what anybody says, at the end of the day, we’re selling a performance. And that’s something that you got to go to.

But in order to have that performance, like you need a good site, right? That site has to not be money and not be dirty, not be gross, you know, so like, not all sites are perfect and ideal world, you’ve got perfect grass and perfect weather and all that stuff. Or you’re in a like huge building with unlimited capacity, right?

After that, you’ve got great technical production, like the technical production is like what people remember from the show, you know, if you’re Metallica or something, right, they’re actually up there and performing, but for the DJs, like the show has become like literally everything else. So that technical production with the lasers, the pyro, the LED, all that stuff coming together, I think just makes for such a memorable experience. But then you got things like food and drink, like that stuff is so important.

I think it gets overlooked all the time, the business is doing much better overall at like, just identifying that we need better food options inside of our shows, like it used to be, we used to sell no food, right, like nobody would want to eat at 10pm or something like that. But improving the food options in our own shows, but across the whole industry, I think has made a different experience for going out, you know, now you’re not dreading even if you go to a ballpark, right, the food’s much better than it used to be. And that was only four, I think the fifth one’s like parking and transport, like just getting in and out.

[Darran]
I still like my hot dogs, peanuts and cheesy nachos.

[Ryan Auhl]
I mean, but I mean, let’s be real, that’s food such trash, like the reality is we want people to come to our shows and like have good food there. So improving that across the whole industry, I think has been such a big win for everybody as a whole.

[Darran]
Yeah, you know, one of the things that I enjoyed seeing, and I’m a huge fan of, at your events, a couple times is the silent disco portion of your event. I think that’s still a very untapped medium, industry wide. I’m only going to say that because I’m a purveyor of silent disco headsets here and looking to buy, you know, get up to about 2000 headsets here and start doing, we want to move away a little bit from the silent disco moniker and go to more silent events and be able to do multiple activations on site and not have to worry about noise complaints and be able to do some really awesome stuff with that. That’s come up a lot.

[Ryan Auhl]
I don’t mean to cut you off, but that’s come up a lot. But the hardest thing we have with that is like, it’s really difficult to get touring acts like the acts that people want to see to play. And so I’ve always looked at it’s like a great feature of our big shows, right?

Like I love having them because it’s just one more thing to go explore and do. But the second part of that, that I absolutely love is it just gives us an opportunity to spotlight a lot of local talent in the market. And, you know, we always make a point of like, every stage opens up with local talent, and then we also produce our local stages.

But, you know, just that one silent disco will book like 30 or 40 local acts all in a couple days.

[Darran]
That’s exactly one of the reasons I got into it was to basically give our show, The DJ Sessions, was founded as a show to start out by showing the local Seattle talent to the world. And in 2009, nobody, I mean, there were people here and there in small pockets of DJs that were doing this live streaming thing, but not far and found. And we were made a feature, we were featured on iTunes as a podcast in 2005, ran off that and broadcast television.

But when we got into live streaming, we were instantly onboarded as a featured partner with Ustream and Livestream. And in 2018, jumped in and was became a featured partner with Twitch. And the goal of the show is to feature unknown, when I say unknown DJs, I mean, not touring, not national, not international DJs, was the beginning, the premise of the show and giving them an opportunity to walk away with a video capture of their set.

I don’t even think SoundCloud was maybe around, maybe it was around in 2009, but not very limited outlets for people to share their mixes online, let alone a video mix online and let alone know how to do those video mixes. So having open table, open door policy has always been the core foundation of the DJ Sessions. And being able to do silent disco, like what you do at your events and giving them the opportunity.

I mean, that’s a huge, to me, that’s a huge career boost, or at least a resume builder, because they’re able to be on site at a major event. Whereas when you go look at a local nightclub scene, the opportunities are so limited. If there’s only so many clubs in a market, and then how they get to play and the politics and all that fun stuff to get in, you know, and then something like with your event, I’m sure there’s a huge networking opportunity there for them to meet other DJs they may or may not know about because you’re doing these region wide events with 30, 40, 50,000.

I don’t know what your capacities are now. I wish.

[Ryan Auhl]
Not quite that high.

[Darran]
Something like that. But I mean, if you do two days, that’s still 17, 15,000 people a day or whatnot. Yeah, for 30,000 total.

But you know, it’s kind of like, that to me is another opportunity that I can think is underlooking. You’re right. I think it’s gonna be hard to convince the bigger name DJs to headline that because my idea would be to do all channels and we have seven channel headsets.

And then finally, at the end, when the headliner comes on, it just goes down to one channel and they’re the only one on, you know, and that’s you’re, you’re coming to see the headliner and, you know, maybe doing some AR activations with that and stuff when the glasses do come out finally, and you can have this whole stage so you don’t have to have the drones like EDC has and all that stuff. You can have actually different shows that people could tune into and have a whole AR experience. You know, they’re at the stage, I think that’s gonna be some awesome stuff to look into for the future.

But yeah, and then obviously, when us being a streaming brand, streaming each of those stages live as well, doing like an independent, well, I guess it’s easy for me to do, because I’ve been doing it for 30 years, in a sense of things. But, you know, being able to put that out there and give people something to walk away with saying, I played the show, here’s the video on my set, that’s on my resume, check out how I drop the beats, you know, and they’re like, Whoa, okay, maybe I can hire you from that or get them some work, something of what our foundation was. So congratulations on looking out for the little, I would say the little guys, but they’re, they’re pretty cool.

You know, the local DJs, I think, put in a lot of the hard work. You know, the other big guys, they got PR, they got booking, they got accounts, they got, you know, they got fans, you know, they got money. The little guys don’t.

So, you know, and speaking of the bigger names in the industry, I know you’ve been doing this for 10 years, maybe you’ve been asked this question a lot. But who’s the most inspiring, inspirational person you’ve ever met, backstage? And why was that person such an inspiration to you?

And maybe, you know, maybe in your position, this is usually, like I said, the pre show, these are more geared for the artists and the DJs and the producers.

[Ryan Auhl]
Right?

[Darran]
From your perspective, right? Who’s the most inspiring person you’ve ever met backstage or behind the scenes in the industry and say, I really wanted to meet that maybe a fanboyed over or like, Oh, my God, I can’t believe it. Or who’s the most inspiring person you’ve ever met?

[Ryan Auhl]
I would say I can name a couple. I’m like the talent side. I think I was most impressed by Zedd the first time I met him only because, you know, like in talking to him, and like one of the early shows we booked him on this before he was huge, right?

I learned like, oh, this guy’s like classically piano trained. And like, he learned music in his words, like in the in a forest in Germany before he came over to the United States, right? But it sort of like was this click moment for me where I realized like, oh, it’s not just like some people making noises on a computer.

Like there’s some people actually like really talented, that are musicians. And that was just like me being naive at like 21 or whatever thinking that but it was cool to have that moment to realize like this really cool music that I like is made by real musicians too. On the business side, there’s a handful.

I don’t know if I should name them by name. But like meeting somebody like Lee Anderson was just, it’s cool because like that guy, you know, is now the president of Wasserman. He had a really good roster 10 plus years ago.

And, you know, we were working with him earlier in my career. But now those people who are like, on some of these hot dance acts back then are now leading these big agencies. Now.

The other guy was Paul Morris, who led AM only for a long time before eventually sold it and got it out. Now he’s just Tiesto’s agent. But it’s cool to sort of meet these people that I think were the beginnings of dance music here in the United States.

You know, really popular in Europe for a long time, sort of gets popular here for a bit, but then kind of goes away. But these last 10-15 years have been like this good path of dance music becoming more and more popular in the United States. And it’s cool to meet those people that have made this possible at the end of the day.

[Darran]
Yeah, you know, it’s interesting having seen the rise of going out and nightclubbing. I’ve been nightclubbing for, oh gosh, 16 years, 26 years now. Gosh, I just turned 51, you know, and still get out there, still have fun and try to travel around the world and see a lot more of what’s happening around the world and in other markets.

And, you know, starting back and watching electronic music be that literally underground, the first club I ever went to for electronic music, all 100% electronic music, was called The Underground here in Seattle. And, you know, you probably know Donald Glaude. You probably have heard that name before.

That was the longest DJ I’ve ever seen play. And totally hometown hero here in Seattle. I love him whenever he gets on.

But that just blew me away. And I was hooked into electronic, into the DJ music culture at that time. That was just when like, rave culture was really coming about in the, you know, early 90s, mid 90s.

And that started, you know, in late 90s, it did start to see, you started seeing more trance DJs, DJs, DJs, DJ clubs. And coming from a city like Seattle, where we were grunge capital of the world, you know, at that time in high school, it was Nirvana and Soundgarden, Pearl Jam. And then you had rap music making its way up in the sense of things as well.

This electronic music thing was way over here, you know, in 1990s.

[Ryan Auhl]
It was like in the corner, right? It was like counterculture at first.

[Darran]
Yeah. And I mean, I was working in a music store at 18 years old at Warehouse Records. And you had all the rock section, you had all the rap section.

And the electronic music section was one slider bin of CDs. And they’re usually compilation CDs. I remember seeing Superstar Kyoki.

And I think Tiesto had a compilation DJ set in there, mix in there. But that’s what it was. They didn’t know where to and they didn’t even know where to classify electronic music at.

Nobody had albums. They were usually all compilation stuff unless you were like, you know, Underworld. I don’t even know if they were producing like that, but something like that, you know, where did that go in the music section of the store?

So seeing that just rising up, electronic music, electronic dance music is just so huge, so worldwide. And I think I just saw a report recently that it’s now electronic music artists have replaced rock music as the top number one genre that’s being requested for major festivals and events. Now, you know all about that.

No thanks to Relentless Beats. Yeah, exactly. So, you know, that’s really awesome that, you know, people sometimes say in this television business that I got into or wanted to get into.

Because most people, when they pick up a camera, they want to be George Lucas, Steven Spielberg, Quentin Tarantino. And I’m like, I want to be Aaron Spelling and I want to be Lorne Michaels. And they’re like, who are those guys?

Like, have you ever heard of 90210 or Saturday Night Live? Yeah, there you go. Like, wait, you want to be in television?

That’s all we have. You know, I mean, you want to be a, you don’t even want to be an actor. I’m like, no, I want to be a producer.

I want to executive produce my own shows. Do this really cool stuff. And they’re like, okay, you live in Seattle.

Why don’t you live in LA here? I’m like, cuz you can do it right here. You know, but that being said, you know, it’s always interesting who people’s inspirations are to hear that from behind the scenes and stuff.

You know, what, what? And it’s probably I’m gonna kind of assume here, this list might be long, which D-Day’s producers, artists from the electronic music scene have become your personal friends?

[Ryan Auhl]
Personal friend? Oh, man, I am the kind of guy that like, hates going backstage. Like, all the occasional, like, hey, thanks for playing.

Really appreciate you taking the show, all that sort of stuff. But like, very few acts that like, I’ve actually got to know on a personal level, you know, like, always like to thank people, you know, especially when they’ve got their crew there and everything. But no, I haven’t really made any friends in that regard.

I mean, Bijou’s from the valley and like, become friends with him over the years. But I knew him before, like, he started touring. So it wasn’t like, you know, met him after the fact or something like that.

That’s always a tough question. Because everybody always assumes like, who do you love the most backstage? Or who’s the coolest?

And like, honestly, I don’t get to interact with them that much. I mean, like, I could tell you like, Shaq’s awesome. Like that guy will take pictures with as many people that are standing there as possible.

I think Tiesto’s cool. But like, most of them, I don’t get a lot of time to hang out with, you know, the ones that we really like, it’s kind of obvious in our schedule. Like, if we really like them, they play a lot.

It’s at the end of the day.

[Darran]
I can only assume that you’re on a walkie and you got nine channels going and something’s being put out somewhere. There’s always something going on. There’s always something going on.

You know, which other than, you know, Gold Rush, Decadence, obviously, your babies kind of that you work on there. What is your favorite genre of event or music that you like? I mean, you mentioned house music earlier.

But what event do you look forward to the most every year? Like, this is coming toward, like we said, I think pre show, this event just ended. Yeah, two weeks, we’re planning next year’s event, which one of those the most is like your baby or that you look forward to the most?

[Ryan Auhl]
I think it’s New Year’s. Honestly, it’s a decadent show. And as much as I love Gold Rush and the rest of the calendar, the reality is like, I’m a big holiday guy.

Like I love being together with all my friends and family and stuff on those on those big days. And so there’s nothing cooler than to say, like, on, you know, the end of the year, a big holiday, we produce like the biggest show in the state. And as many people that I know that are close to me, like are always there, and it’s always a good time.

That show is like improved so much over the last decade, like it’s nowhere, it looks nowhere, like nothing like it used to, you know, 10 years ago. So it’s cool to watch that whole production improve it to be where it’s at. You know, last year, we we celebrated 10 year anniversary, not last year, a couple years ago.

But that show, like, hands down, it’s my favorite thing to work on all year. It’s centered around the holiday, it’s right after Christmas, it’s just a great time of year.

[Darran]
Now, do you and Tom take the team out? Is there a core team, like retreat or decompression that you get to go to or anything? Like, I always wanted to do this with my team and say, Hey, we busted our ass for a year.

We’re out there doing everything. It’s a two week vacation. I’m renting a villa and XYZ place, paying for the tickets, paying for the food, come down, let’s have a huge decompression.

We’re out of the office, our ghost team is going to be running calls. Everyone knows we do this and just have some fun in the sun. And then let’s get back to work.

Anything like that happens?

[Ryan Auhl]
I wish we just had our annual retreat. It was at Rocky Point. It was like, you know, Rocky Point’s only a three and a half hour drive from here.

So it’s easy. Wait a second. I know, Rocky, but where’d you go?

We, we stayed at what Paniasco, Seoul or something like that. Sorry, my assistant’s off camera right now. No, it’s all good.

But yeah, we, one of those big condo buildings over there and we were down there for three days. I wish it could be two weeks, but it’s honestly too much work to do.

[Darran]
No, that’s funny you bring that up. I actually flew in. That’s, that’s, we’ve driven down from AZ, from Phoenix down to Rocky Point as well.

[Ryan Auhl]
Super easy drive.

[Darran]
Yeah, it was. Except don’t speed through the town. No, don’t.

[Ryan Auhl]
You’ll get pulled over.

[Darran]
We got pulled over like five seconds after going through the town. Cause it goes like immediately from 40 to 25 really quick. Oh, and then it goes back up to like 85 or whatever.

But they don’t, they don’t tell you this. And yeah, that was an interesting experience. Yeah.

So quickly, like right after the board is like, bam, you’re pulled over. You’re like, what we do? It’s like through that town.

It’s like, I think it’s in kilometers. It’s, you know, not miles.

[Ryan Auhl]
Oh yeah, it’s right after it switches. Like, you know, you’re, you’re trying to figure out how to change it on your car. They definitely try to get you right there.

[Darran]
Yeah, exactly. So, but yeah, still a fun time down there in Rocky Point. Love the place.

Beautiful locations down there. Beach is phenomenal. Would definitely go back there again and stay there.

You know, going back to the event stuff though, is what’s the weirdest moment you’ve ever had in 10 years of doing this? Something crazy has had to happen. Or maybe a call over the radio or something that you could think of that’s happened at an event.

Weird, not life-threatening. Maybe it was. Maybe somebody climbed up in the lightning rafters and got up and I don’t know.

Anything that you can disclose or talk about the weirdest moment? Doesn’t have to be incriminating in any way, shape or form.

[Ryan Auhl]
So back in 2017, we’re doing our second year of Phoenix Lights. It’s supposed to be in Hance Park. That year, we also hosted the Final Four in the Valley.

And so to cap off the Final Four week, there was a big concert in the park. There was a miscommunication with the city. I don’t want to get too far into it because I don’t want anybody to think I’m talking bad about anybody.

But at the end of the day, we had to move Phoenix Lights on like two days notice. And that’s not even the crazy part. What makes this weekend even more crazy is we’ve moved the show.

It’s happening. It’s down at Rawhide. We had a plan B that we pulled together and the show is still being produced on time in its new location.

But that weekend, there’s this guy and the kids in the AzRay fam would know. He was called the Naked Asian Man because he got butt naked and he was streaking all the way through the festival on Saturday. And eventually, it took like three guards to tackle him.

But this is all coming over the radio. And I didn’t even know what to think. They’re like, there’s a streaker.

I’m like, there’s a streaker. We’ve never had a streaker. This is new.

But then as I found out more and more, it all turned out to be real. And eventually, they subdued the guy and we had to kick him out. He was clearly not okay.

We made sure he got home okay. But then the next day, it gets even worse. His mom made him come to apologize and pick up his clothes.

So of everything that’s ever happened- It’s nice of you to hold on to his clothes for him. Yeah. Well, they weren’t lost and found.

They didn’t know what else to do with them.

[Darran]
That’s pretty crazy. That’s crazy. I’ve never heard of streakers at festivals.

I go to festivals sometimes where clothing can be optional sometimes. Light clothing, sure. But no, he just kind of told me.

Yeah. Things like that. But yeah, that sounds like a fun call to get over the radio.

We’ve got a streaker in the field. Awesome. Kind of a very interesting topic that’s taking place nowadays that I see, and I see clubs around the world, more stories coming out about this, is the use of cell phones in the audience and filming the shows and using them.

I was in Berlin last year for Rave the Planet. Went to a nightclub first time. We had a small party here years back.

Didn’t ever really catch on. My cell phones were kept and held at the door. But I went to this club in Berlin, and they put stickers over the front and back of my phone.

And I was like, this is cool. I didn’t mind. I’m in video production.

I’m not going to spend my time off trying to record a set of a show knowing that it’s going to look like crap, knowing it’s going to sound like crap, and then share it and go, this is from the DJ sessions. Isn’t this awesome product? No, I’m not going to do that.

Just it’s my artistic integrity. And I also, I’m there to enjoy the music and have fun. But I’m seeing that clubs, like there’s a club in Ibiza that basically came out and said, there’s no cell phones allowed on the dance floor.

Obviously, Bergane comes in and does this. Other nightclubs do this to protect the integrity of the people in the crowd. I saw a funny video last night.

Girl was at the front of the DJ booth doing this. I mean, at the front of the DJ booth doing this with her phone. Click, click, click, click, click.

DJ goes like this. She’s like, no, don’t come up to the front right here. And it was totally right in text message.

She wasn’t even shooting a video or anything. It’s like, what are you doing here? So obviously bigger events, that’s a little hard to do, but in other smaller intimate clubs, I’m wondering, I want to get your take on this a sec, but I’m wondering if we’re going to start seeing, will it come from the nightclub level or the event venue level?

Back in the day when I went and saw Prince, it said, I know on your no list, there’s no cameras with removable lenses probably, no video production equipment gear. When I went to go see Prince, you weren’t allowed to have recording devices. You weren’t allowed to have cameras with a removable lens.

Otherwise you’d be kicked out and ejected from the concert. And I know Apple back in the day was rumored to be working on an infrared system that would shoot infrared beams out. So when you put your camera up, it’d be like, can’t record this.

Gosh, I wish they’d make that. Not that I don’t want people to share their memories and experiences or anti that, but it’s like, I’ve heard musicians even say the entire vibe is now lost because everyone’s doing this. And now I’m standing behind somebody and now their arms are up like this and I got a sea of arms up in front of me.

What’s your take on that and any thoughts on how to promote the, I’m not trying to get you busted here. How to promote the reason why people should enjoy the environment and a spectacle that you’ve worked so hard to put on rather than trying to capture it in their phone. There we go.

[Ryan Auhl]
I mean, first I’ll say I’m on, I’m definitely in the camp of like, I wish there were less phones in the shows. But at the end of the day, like, look, we all have them and they’re become safety devices now. So I do think it’s like, well, unless we’re absolutely forced to by an artist, like we won’t take away a phone just because we don’t want anybody to feel like, Oh, what if my kids didn’t reach me?

Or what if like my sister needs to reach me or my wife or something like that. But I love the idea of putting stickers over the cameras. Like Laney does that for his shows.

And I just think that makes that experience better. There’s nothing worse to me than millions of dollars of production being up on stage and everybody’s watching it through their little cell phone screen. I just think that’s like so paradoxical to what’s going on rather than enjoying the show, right?

You’re watching on a little screen and you could be watching it on a screen anywhere, but instead you paid to be here to watch it in person.

[Darran]
Ryan, I just came up with this and I do this for everyone. I give them a multi-million dollar idea and I just came up with it. I want rights to this and Relentless Beats comes out and makes it or I want it sponsored by the DJ sessions.

We make a hat that everyone wears like those umbrella hats and it has a stick that goes on top and you put your phone on the stick and you hit record on your phone, put your phone in there and then you’re watching the show, but you’re not holding your hands up. I guess that you’re watching the show, but your phone’s still recording it. I can say brought to you by Relentless Beats and make them a walking billboard for us.

[Ryan Auhl]
I mean, maybe, but now your phone’s still in the way of everybody else. The funniest pictures to me are when everybody has their cell phone up. Everybody could just be watching the show.

You’re all standing there. You’ll remember it if you don’t take a video and even if you took a video, are you ever going to watch this video again?

[Darran]
Whoever watches the 4th of July fireworks, even if you post them online, the drone shows. Okay. I can understand that.

That’s kind of cool, but I got the fireworks show for, shouldn’t you be enjoying the fireworks and from rockets, red glare, boom, boom, boom. Or the fireworks show for the events. He said, let me capture this.

And Oh my God, that was so awesome. You know, I think you’re right. Isn’t missing that.

And it’s just become a norm. And I was talking with a DJ the other day and they said, 15 year old kids, they don’t know what it’s like to not be in a nightclub.

[Ryan Auhl]
I mean, growing up, nightclubs, if you look at photos from nightclubs in the nineties where there’s no phones, it is a totally different vibe than now. Like everybody looks different. Everybody’s like in their own little element with their groups.

And it’s not like the environment that’s out there now.

[Darran]
And I’ve thought recently about in just even starting, not trying to make a national news story, but forming on like a 501 C three nonprofit to go around to local nightclubs and have them sign up, not an affidavit, a testimony, what’s it called? A pledge or something like that. And says, Hey, we’re all going to bond together.

We bound as a city, a nightlife community in Seattle. Because when you think about it, when you do the math, if somebody is on the phone, when I was clubbing, if we were standing around, if we weren’t dancing, we were standing. If we were standing for like a few minutes and we’re talking, okay.

But then the thing was, Hey, let’s go get a drink. And then while you’re waiting in line, you’re buying a drink and you’re talking while you’re waiting in line, getting the drink. But I’m sitting there and I’m watching a video.

I’m social networking. I’m doing this. That’s time that I’m not standing in line.

That’s time I’m not buying a drink. And so maybe I might buy one drink and set that down. And now I’m social, social, social.

Whereas when that drink ran, whenever my drink ran out, uh, well, I’m not doing anything. Let’s go wait and get another drink. So you see bar sales go up.

Or I used to talk with nightclubs that would put on movies in the background as their visuals. And you get the guy sitting there watching enter the dragon, like a wallflower. And I’m like, turn the movie off, put some visuals up there.

Don’t put a movie on. People are going to sit there and watch the movie. And they said, yeah, when we took that down in the nightclub, we saw our drink sales.

Like there was an effect because people just weren’t sitting there watching that, you know, um, they were actively trying to participate and do something. So, you know, if we see it from the nightlife club level, the clubs could use the excuse. Hey, one, you don’t have the rights to film on site.

Um, two, this is music that you don’t have the rights to record. They can go from a legal aspect and say, boom, boom. You’re not allowed to record the performance yet.

But can we see that? Like you said, lane eight’s coming in saying he requires stickers on everyone’s phone.

[Ryan Auhl]
Yeah.

[Darran]
You know? And, and then I don’t know what the policy is. If somebody gets caught filling and caught without a sticker, is it a tickling?

It’s an automatic kick out.

[Ryan Auhl]
Yeah. Yeah. On those shows in particular.

And we, I mean, look, it’s in the show notes and everything. Like people know in advance that people don’t get kicked out, but you know, and we’re up front with people about it.

[Darran]
Yeah. So, I mean, that’s just, I think a huge thing. How do you form that coalition or an ant, you know, boom, this city and let’s make it, let’s put it on the map or maybe a company like relentless beach puts us in a manifesto in there saying, Hey, we’re going with this or every show and make cell phone zones.

Like, here you go. This is where you want to use it. Use it here.

I mean, I’ve heard about the magnetic bags they have. You can drop your phone in, but you’re right. I want to be able to call my kids.

I want to check out my, how do you do all that stuff?

[Ryan Auhl]
So I’ve always just thought it’s interesting. Like, you know, culturally it’s taboo to be on your phone in a movie theater, but like a nightclub is another dark space. And like, I just was culturally, like, we wouldn’t have cell phones in the same way at a nightclub.

Uh, you know, I’ve joked like maybe we should do like right before the headliner comes on, like one of those, you know, visit the concession stands, turn off your cell phone sort of messages.

[Darran]
But obviously they’ll probably, they’ll probably record that and put that up online and try to let it go viral. I’m going to tell on them. Wow.

I can’t believe they said that, you know, doing all these events, 500 events a year. Do you get to go out on the road a lot with some of these events?

[Ryan Auhl]
I mean, for our big shows, for sure. Like I’ll be at experts only. I’ll be participating in the management of that with the larger team.

Um, you know, I’ve gone out to the Honolulu shows. I’ll go out to our bigger Albuquerque shows. Um, you know, at this point in my career, like my focus is on our bigger shows just because they, they represent a lot of revenue for the company.

It’s how we pay bills. It’s how we pay everybody. Um, so like a lot of my time gets wrapped up in gold rush decadence and stuff like that.

[Darran]
Do you get to like explore some of the cultures, city and food and nightlife when you get out there?

[Ryan Auhl]
Yeah. My wife and I love to travel. So like we’ll spend an extra couple of days in New York, uh, after this show and enjoy the city together.

We haven’t been in the city in a couple of years together, but you know, we’re the type of people that like, we always just want to try to go to somewhere new. So even if we’re on vacation and you know, it’s the goal is to like try a new city or try a new place.

[Darran]
Favorite city you’ve been to in the last year.

[Ryan Auhl]
You know, we spent a couple of weeks in Tokyo this past year and absolutely loved it. I know it’s so popular with everybody, but honestly, it is such a cool culture and such a cool experience. There’s so many things to do.

Like I can’t even begin to list all the shit we did. And you know, we’re honestly really looking forward to going back. It’s just, uh, it was super clean.

It was nice. The food was great. People are polite.

[Darran]
Like it checks so many boxes, you know, that’s right now I’m planning. Um, obviously working close with, with Chad and they’re really letting us do nationwide stuff, planning a European tour as well in conjunction with that for 2026. Once I get that dialed in probably halfway through 2026, I’m starting to go looking to go east.

And, uh, now that I know Honolulu is a jumping off point of stopping there and going down to visit my friends in Melbourne and then getting up into Bangkok and going to Tokyo, you know, and then coming back. Um, cause luckily through technology, I can do this show from anywhere in the world. It’s awesome.

But I like to be on the ground and meet people. I’m a huge foodie. So getting into the foods, the actual authentic foods of the culture and getting, you know, not that American culture food is bad, but it’s Americanized.

You know that, you know, I want to get the real deal, real hardcore stuff like Anthony Bourdain on the site, except I will not eat anything that’s alive.

[Ryan Auhl]
Yeah, not my thing.

[Darran]
You know, I can’t see that squid around the stick and I’m just like, no, I’ll eat sushi, but you know, except for sea urchin, unless it’s in a really nice shooter, I’ll eat sea urchin. But other than that, sea urchin is not my thing. No, no.

Here’s a question for you. Kind of out of the blue. I told you pre-show I saw this question I wanted to ask you.

And I know there is kind of a little bit of a history of this in the Arizona area, Phoenix, Arizona area. Have you ever seen a UFO?

[Ryan Auhl]
I have not. We do have a, you know, an alien themed show called Phoenix Lights, which is named after the famous alien sighting from, I think it was the 80s or 90s. But no, I have not.

We’ll make some fake ones for the show, you know, in theme, but that’s about it.

[Darran]
You know, I know there’s that mountain ridge there, they say they always see objects flying over top of or something. South mountain, yeah.

[Ryan Auhl]
That’s where people saw the original Phoenix Lights.

[Darran]
Well, that’s what it was. Okay. I didn’t know the history on that.

But yeah, it’s interesting to know that there could be some stuff out there in the world. And now, you know, you have a show based on that. It’s awesome.

You know, after all of this, gold rush, decadence, Phoenix Lights, traveling, working all the time, what do you prefer to do when you’re taking a break? Other traveling, we talked about eating food, traveling. Is there anything you really look forward to when it’s downtime for Ryan?

And like, oh, yeah, cool.

[Ryan Auhl]
Honestly, hanging out with my wife and our friends and sometimes doing nothing, sometimes doing projects around the house. But you know, I’m a big foodie and travel guy. So you know, I’m always looking forward to like the next place we’re going to like, you know, if my wife’s listening, I’ve been trying to convince her like, hey, maybe we should go somewhere like Kenya next year.

I don’t know, just pick like a cool new place, learn about it, and sort of plan like a trip around it. It’s like my favorite stuff to do.

[Darran]
Best restaurant in Phoenix, if you top your list, number one, go there, check it out. Where’s that at?

[Ryan Auhl]
We have a ton of steakhouses here. So if you’re not from here, you may be familiar with Mastro’s. Mastro’s is originally from here.

But the guy who started that restaurant also later after he sold it started Ocean 44 and Steak 44. I think they’re among the best steak restaurants in the country, hands down.

[Darran]
Those located in the downtown area? Are they? I mean, look them up online, I assume.

[Ryan Auhl]
But yeah, so Ocean 44 is in Scottsdale. That’s near like Old Town. And then Steak 44 is 44th and Camelback, which is actually right next to Global Ambassador, which new excellent hotel in the valley.

[Darran]
Awesome. Well, I will definitely have to check out. I’m a huge steak fan myself.

I got like 10 filet mignons and a couple ribeyes, a couple New York’s in the fridge. I usually try to have a steak dinner once a week. But always nice when somebody else prepares it for you.

I’m a huge Sous Vide fan too. I love my Sous Vide.

[Ryan Auhl]
That’s how we started cooking our steaks. They just come out perfect.

[Darran]
Perfect. Awesome. Well, Ryan, thank you so much for coming on the show today.

I know we’re super excited. You got to get running, get Gold Rush up. I’m sure it’s already in production, already running because of the pre-planning and everything going.

But is there anything else you want to let our DJ Sessions fans know before we let you go?

[Ryan Auhl]
I would say, I hope you’re all coming to Gold Rush because it’s going to be a great one. Like I said, we’re back in that Western town. We’re activating every single room up and down the town.

You’ve got two main stages. We’re bringing excisions, full laser setup. It’s going to be a great show.

All that info and more at GoldRushFastAZ.com. And then of course, if you want to learn more about the rest of our shows, RelentlessBeats.com.

[Darran]
Awesome. Right there, RelentlessBeats.com. And as an at mention everything Relentless Beats.

[Ryan Auhl]
Oh yeah, everything at Relentless Beats.

[Darran]
Got to make sure you get those domain names early on.

[Ryan Auhl]
Yes, we own so many of them.

[Darran]
New platform comes out, grab the domain name for it. Literally the first thing we do. Awesome.

Ryan, well, I’d love to follow up with you here in the future. Hopefully, I’ll see you on the ground at Experts Only, but definitely would love to make it down. If I can’t make it to Gold Rush, be down there for Decadence as well.

Because with 500 events going on and everything, you know you’re going to have a fun time with Relentless Beats. Definitely. Awesome.

Ryan, again, thank you for coming on the show. Thank you so much. It was great chatting.

Absolutely. On that note, don’t forget to go to our website, TheDJSessions.com. Find out all of our news stories, over 700 news stories a month, 2,700 plus past episodes.

Find out about our VR nightclub, our new music section, our radio player, our mobile app, all of that and more is at TheDJSessions.com. Oh, exclusive mixes and live interviews just like this one here at TheDJSessions.com. I’m your host, Darran, coming to you from the virtual studios in Seattle, Washington.

And that’s Ryan coming in from the Relentless Beats offices in Phoenix, Arizona for The DJ Sessions. And remember, on The DJ Sessions, the music never stops.