Chris Thigpen on How to Move to LA and Become a Working Bassist (Episode 141)

Reliability beats virtuosity.

Chris Thigpen plays bass and drums, produces and music directs. A Columbia College Chicago graduate, his credits include Meghan Trainor, The Isley Brothers, Kat Graham, RZA, Ruben Studdard and Melissa Manchester, plus Broadway tours like Motown the Musical and The Color Purple. Nomad met him as music director on the Kat Graham band, on a referral, and his Instagram bio says it all: "I play the bass, then I go home."

In Episode 141, Chris shares the textbook way he moved to Los Angeles, how he built a network from jam sessions, his studio etiquette, and why the player who causes problems never lasts. It is a clinic on how to become a working session bassist without the drama.

Take the note from people who are where you want to be

Chris grew up in Chicago church music, around his dad, a musician and music director, and the players his dad worked with. He thought that level was simply how music was supposed to sound. And he got to ask those players thousands of questions.

Gospel players often have to learn to dial it back for pop and country. His mentors pulled him aside, never mean but straight: you're playing too many notes, you're too loud, that's not the vibe here.

"Somebody who's in the position that I want to be will tell me something, and then I'm gonna have an attitude like they don't know what they're talking about?"

Chris Thigpen, 9:25

Nomad said you could repeat that ten thousand times. That is Humility from the ETHOS code, and it is the reason Chris keeps working.

Raise your game, then let your mentors put you on

In 2013, Chris made the Disneyland All-American College Band, one of 21 players chosen from hundreds of auditions and the only bassist. It gave him perspective on where he stood, and it was fast: difficult charts, guest artists, read it down and perform it within the hour. Nomad pointed out that is exactly how a TV awards show date runs.

His reading came from a mentor at Columbia College who assigned him a new transcription from the James Jamerson book every week. Once Chris was prepared, that mentor started putting him on opportunities. Luck = preparation + opportunity.

The textbook way to move to LA

At 18, Chris was in the car when his dad, a tour music director, got a call about budget cuts. To save on flights and hotels, the out-of-town bassist and drummer were replaced with LA players.

"Out of all the reasons for me not to get a gig, that's not gonna be one."

Chris Thigpen, 19:58

So he made a plan. His dad told him to figure out how much money he needed. Chris set about $10,000 (more is better), enough to live three months in LA without making a dime. He did two years of cruise ships, which taught him stamina, discipline and how to work every day, and he skipped the nightly crew bar. He ended up music directing on a ship out of Long Beach. When he signed off, instead of flying home to Chicago, he took an Uber to North Hollywood, got a car the next day and an apartment a few days later.

Nomad called it the model: find a gig with no overhead, save, and use it as your launch pad. And a friend's advice, start in North Hollywood, where the studios, rehearsal spots and half the musicians are.

Jam sessions build networks, not overnight tours

For three months Chris hit the scene hard. He asked everyone at every jam where the next one was and built a list for every day of the week. His honest view: killing a jam does not get you a call from Rihanna. What happens is you meet people, they call you to sub or play a local gig, and through those gigs you meet more people. You can make good money in LA without a major tour.

A college friend told him to reach out to bassist Dimitri, who welcomed him and became a big brother. Chris figures Dimitri is behind about 35 to 40 percent of his work, through recommendations and subs. That is how Chris landed on Nomad's radar. The real quality work, he says, comes from people who would be his friends even if they didn't play music. Don't only call when you need something. And say thank you, out loud. Work begets work.

Studio etiquette: communicate the artist's message

In the studio, Chris switches from musician to producer. His dad taught him that music is a language, and the job is to communicate someone else's message. Study records, not 45-second clips of chops. Most of the players in those clips know how to play records.

When Nomad booked him for a folk rock date, the email said it plainly: no funk. Chris read the instructions, and he brought his upright just in case. It ended up on a song. Sounds matter more than flash, because in the studio everybody can play. Read your emails and texts, then read them again.

Don't be the problem

Nomad asked about the player at soundcheck who makes everyone stare at their shoes. Chris did the math: every person in a five or six piece band knows ten to twenty players who could fill your chair. Bad gear or a weak backstage setup is part of the job. If it stops you from doing the job, look at yourself. People call back whoever did it last time with no problems.

"You don't always have to solve problems, but you need to make sure you're not causing them."

Chris Thigpen, 50:30

If something is truly wrong, don't make a scene. Nomad's advice: wait until the next morning at the airport, then ask the music director for a private word. Low maintenance / no drama.

Chris stays grounded by remembering where he came from. On a cruise gig with the Isley Brothers, he looked out at the ocean and remembered he gets paid to do what he pretended to do as a kid. His definition of success: doing what he loves at a level where it sustains him to keep doing it.

The takeaway

Save before you move. Make a list and show up everywhere. Take the note. Follow instructions and bring the extra instrument. And never be the reason a call goes to someone else. Before your next audition, grab the free Audition Secrets guide.

Get the gig. Keep the gig. Build the career.

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