A Conversation With Azayah Pugh & Terian Mack

The Lancaster advantage: a community that actually shows up

One of the biggest takeaways from the episode wasn’t a secret marketing hack or some magical gear chain. It was this: Lancaster has a scene that rewards people who participate.

Terian talked about how his whole world is basically built on relationships, and it’s not the networking-pyramid-scheme version. It’s the real version. Running events. Hosting programs. Teaching artists. Putting together opportunities. Being the guy who answers messages with “yeah, pull up” instead of “prove it to me first.”

Azayah’s story connects perfectly to that. What started as a solo project in 2023 became a full band over time, because the work created gravity. He’s posting covers. He’s writing originals. He’s recording. He’s playing out. Then the band forms naturally around the momentum: brother joins on guitar, best friend hops on bass (after casually admitting he plays bass), and suddenly it’s a real thing.

That’s the Lancaster scene at its best. People cross paths because they’re both moving. And when they do, doors open.

From a Tone Tailors perspective, this is why we’re so invested in local artists and local music culture. We’re not just here to sell guitars and pedals. We’re here because gear is part of a bigger ecosystem. The stronger the local scene gets, the more players level up, the more bands form, the more shows happen, the more creative work gets made. Everybody wins.

“New Era” and the decision to go big (23 tracks big)

Azayah and the band also dug into their latest release, New Era, and the creative decision that makes a lot of musicians raise an eyebrow in 2026: they dropped a 23-track album.

In a world where a lot of artists treat 8 songs like a full meal, going 23 tracks is basically walking into the gym and saying, “Yeah, we’re doing legs for three hours.”

But the reasoning was solid: they didn’t want an album where most of the tracklist was already released as singles. They committed to a consistent single release schedule, then still put in the extra work to build a bigger body of music that actually feels like a moment, not a playlist.

What really mattered wasn’t the number. It was the mindset behind it.

They’re trying to create something that feels complete. Something that defines who they are: alternative rock energy with hip-hop elements, locked in as a real identity. Not “we dabble in a few genres.” More like “this is the lane, and we’re flooring it.”

That approach is honestly refreshing. It’s also a great reminder that you don’t need permission to go all-in. You can just… do it. Especially if your quality backs it up.

The “Live Experience” approach: make it more than a show

The upcoming New Era Live Experience 2026 is where the whole conversation really turned into a case study.

Instead of doing a normal “here are 10 songs and we’re out” setlist, they’re performing the album start to finish. That’s a bold move. It’s also a move that screams confidence and preparation, because there’s nowhere to hide when you commit to a full project run-through.

Terian framed it the right way: it’s not just a show, it’s an experience.

That matters, especially now. People have a million options for entertainment, and everyone’s attention is being fought over by a glowing rectangle in their pocket. If you want people to come out, remember the night, and tell somebody else about it, you have to give them something that feels curated.

This is the same reason Tone Tailors is so big on helping players find their setup instead of just selling the “popular” thing. When your tone is intentional, your rig supports your performance. When your performance is intentional, the whole experience changes.

Here’s the simplified version of what came through loud and clear:

• Streaming payouts are tiny.
• You can’t build a real life on fractions of a penny unless your numbers are massive.
• Sync placements (commercials, platforms, brand content) can change the game fast when your paperwork is right.
• A lot of artists miss opportunities because they don’t have their rights, publishing, and metadata handled correctly.

Terian also talked about teaching this stuff through his independent artist classes, and that right there is a massive value-add for the Lancaster scene. It’s one thing to tell artists “be consistent.” It’s another thing to show them how to set themselves up so a real opportunity doesn’t slip through their fingers because of missing admin work.

That’s mentorship. That’s stewardship. And it’s how you build an actual music economy locally, not just a bunch of talented people spinning their wheels.

The Japan story and why “ask” is a strategy

One of the wildest parts of the episode was Azayah’s story about performing in Tokyo, Japan.

No label machine. No giant booking agent. Just reaching out, asking, and getting a yes. He emailed venues with English-friendly sites and landed a performance at Ruby Room in Tokyo. Brought a laptop, ran the set, connected with people, and turned it into a real memory.

That story is the perfect example of something we talk about all the time in the shop, even when it’s not explicitly said:

If you want a different result, you have to do something slightly unreasonable.

Email the venue. DM the promoter. Go to the open mic. Talk to the sound person. Ask the band how they got that tone. Ask the question that feels like it might be a “no.” Sometimes the first person says yes.

The AI conversation: a line in the sand (and why it matters)

They also hit the AI topic head-on, and Azayah’s stance was clear: they’re not using generative AI to create music. The core belief was simple and honestly kind of grounding: music is art, and the human process (including imperfections) is part of the point.

Terian added nuance that a lot of creatives will relate to: AI can be useful for pitch decks, organizing ideas, communicating business concepts, and getting structure in place. But when it comes to the music itself, his process is rooted in instinct, freestyling, and being constantly inspired.

Whether someone agrees or not, it was refreshing to hear artists talk about it like adults: where the line is, why it exists, and how they want to create.

The Tone Tailors connection: gear is the fun part, but community is the engine

Toward the end of the episode, the conversation swung back to Tone Tailors in the best way: the “$5,000 shopping spree” question.

And yeah, we got some great answers: a PRS that caught Azayah’s eye, the idea of grabbing pedals (including the Stomp Under Foot Divided Drive, which is exclusively available through Tone Tailors), wireless setups, big distortion, flanger dreams, bass talk, and more.

But the bigger Tone Tailors connection wasn’t just “what would you buy?”

It was that the band is in the shop. They’re filming demos. They’re part of what’s happening locally. And Tone Tailors is showing up right back by supporting the scene the same way we always try to: amplifying artists, collaborating where it makes sense, and staying connected to the people actually doing the work.

Because at the end of the day, Tone Tailors isn’t just a place to grab a guitar. It’s a place where the Lancaster music community overlaps. Artists meet producers. Bands meet venues. Players meet instructors. New ideas turn into real projects.

And if you listened to this episode, you know exactly what happens when the right people overlap.