Now That’s Bass

Pete Roythorne
  • 5.0 (1)
  • Music Interviews

Now That’s Bass is a podcast about the real world of professional bass playing. Hosted by bassist Pete Roythorne, the show features frank conversations with working bass players — touring musicians, session players, educators and gospel players — about what it actually takes to sustain a career in music. No fantasy. No gear flexing. Just the reality of the job. The podcast is also part of a personal mission. Just before Christmas Pete was made redundant. Approaching his 60th birthday, he decided it was time to stop talking about doing something serious with his bass playing and actually do it. So he’s getting back out into the bass world. Each episode features honest conversations with bass players who’ve built real careers — touring internationally, working in sessions, teaching thousands of students, and sustaining a life in music for decades. Along the way Pete asks the questions many musicians want answered: What does it actually take to make a living playing bass? How do you build a reputation? And how do you stay in the game long term? If you’re serious about bass — not just the instrument but the long game of being a musician — this podcast is for you.

  1. 1d ago

    How Richard Jones Got the Bryan Adams Gig — and Kept Getting Called Back

    What would you do if Bryan Adams called and gave you six days to learn his arena set? Richard Jones nearly said no. In this episode, The Feeling bassist explains how he tackled the challenge—and what years of gigs, setbacks and unexpected opportunities taught him about earning a living in music. Richard joins Pete Roythorne to explore why having your own sound can make you the right person for a gig, how a working rhythm section helped him land Sophie Ellis-Bextor’s audition, and why he temporarily stepped away from her band when their relationship began. There are practical lessons in learning songs quickly, building musical chemistry and recognising the value of gigs that appear to go nowhere. Richard also tells the story of the “Sewn” demo that survived an expensive studio remake, and makes the case for keeping live bass players onstage. In this conversation:• What ten shows a week taught The Feeling about playing together.• The value of learning by ear—and why Richard still wishes he could sight-read.• How Spike Stent helped preserve the performance behind “Sewn”.• Why an individual sound matters when people decide who to hire.• Preparing for Bryan Adams: manageable practice blocks, the hardest songs first and getting off the page.• Saying yes to a frightening opportunity without letting the next gig consume your time off. Follow Now That’s Bass for more honest conversations about working lives in music. If you enjoyed this episode, leave a rating on Spotify or a rating and review on Apple Podcasts—and share it with a musician who would find it useful. CHAPTERS00:00 Richard Jones: a working life in bass01:00 The Millennium Falcon bass story05:22 Finding bass—and your place in a band13:54 How bass shapes the whole arrangement19:10 What you lose when bass goes on track21:31 Music school, ear skills and real work27:36 How a covers gig built The Feeling32:28 The edge that won Sophie’s audition38:48 Hearing the hit inside the demo44:29 Why Richard stepped out of Sophie’s band49:52 Why the “Sewn” demo beat the remake53:10 Finding the sound that gets you hired1:02:42 The call from Bryan Adams1:08:25 Learning an arena set in six days1:18:00 Stop letting the next gig consume you

    How Richard Jones Got the Bryan Adams Gig — and Kept Getting Called Back

  2. Oct 5

    How I Got the James Blunt Gig — And Kept It for 18 Years | John Garrison

    What does it actually take to build — and sustain — a career as a professional bass player? John Garrison has spent 18 years playing bass with James Blunt and has recorded with artists including Lewis Capaldi, Ed Sheeran, Christina Aguilera, Josh Groban, Passenger and Benson Boone. But his route into that world wasn't built around sight-reading, virtuosity or chasing the spotlight. In fact, John can't read music. Chapters for easy navigation 00:17 John Garrison: 18 Years at the Top03:46 How John Accidentally Became a Bass Player06:52 The Roadie Who Helped Launch His Career11:14 From Aspiring Artist to Professional Bass Player15:38 How John Landed the James Blunt Gig19:34 What Keeps You Hired for 18 Years?22:09 Learning to Serve the Artist — Not Your Ego26:28 Why Major Producers Keep Calling John31:58 Inside Lewis Capaldi's “Forget Me”36:53 Why the Notes Are Only 30% of the Job42:25 The Extra Skills That Get Bass Players Hired45:23 What Great Players Get Wrong About Building a Career51:43 Glastonbury, Jay-Z and Life at the Top55:06 Peter Gabriel, Kylie Minogue and a Very Surreal Dinner57:06 The Bass That Ended Up on Arctic Monkeys' Debut In this episode of Now That's Bass, John explains why being able to play is simply the starting point — and why speed, musical judgement, preparation, backing vocals, versatility and being someone other musicians actually want to spend time with can matter just as much. We get inside the session for Lewis Capaldi's “Forget Me”, including why John had to re-record the bass part on a different 1970s Precision before discovering it was about to become the first single. John also reveals how he can turn around major-label bass sessions in less than an hour, why being a songwriter changed the way he approaches bass, and why his younger self had to learn that playing 23 notes a second wasn't necessarily going to get him hired. We also talk about the unexpected “beer test” that helped him land the James Blunt gig, the challenge of moving from frontman to sideman, surviving 18 years on the road with the same artist, social-media comparison, ego, work ethic — and the question every aspiring professional musician should ask: Would the rest of the band actually want to have a coffee with you on the day off? Plus: playing Glastonbury with James Blunt, getting applauded by Jay-Z, asking Kylie Minogue to pass the HP Sauce, accidentally lending his bass to the Arctic Monkeys — and the two bass lines John believes players should spend some time with. If you're trying to turn being a good bass player into actually getting hired, there's a lot in this one. Now That's Bass — honest conversations about bass playing, careers and what it really takes to make a living in music.

    How I Got the James Blunt Gig — And Kept It for 18 Years | John Garrison

  3. Sep 28

    Nick Owen on the Bass Centre, Gary Barlow and Vintage Bass Bargains

    Nick Owen spent ten years at London’s Bass Centre during an era when it brought together bass players from around the world. He remembers the famous names who passed through, the clinics, the unlikely encounters and, above all, the community that formed around a shop where people could try an instrument and talk to someone who knew it inside out. What did working there teach him about basses and the people who play them? And could a place like that exist again? Chapter guide 00:00:00 Nick Owen’s Unusual Bass Career00:05:46 Inside the Bass Centre00:15:25 Clinics and Bass Centre Legends00:23:06 From a Dep Gig to Sway00:29:11 The Jeff Beck Audition00:41:17 Music and the London Taxi00:48:11 Basses Kept, Sold and Remembered00:59:37 What Nick Would Do Differently Nick’s story goes well beyond the counter. He talks about the dep that led to nearly 30 years with Sway, work with Ronan Keating, Gary Barlow, Bonnie Tyler and Dirty Vegas, a daunting Jeff Beck audition, and the complicated freedom of driving a London taxi alongside a playing career. The final part is a treat for gear lovers. Nick discusses the basses he misses, the boutique instruments that left him cold, and what years of handling vintage Fenders taught him about judging an old bass on more than its age or price. If you visited the Bass Centre, we’d love to hear your memories.

    Nick Owen on the Bass Centre, Gary Barlow and Vintage Bass Bargains

  4. Sep 23

    Guy Pratt: Pink Floyd, Madonna & the Truth About Making It as a Bass Player

    Guy Pratt has played bass with Pink Floyd, David Gilmour, Madonna, Michael Jackson, Bryan Ferry, Robert Palmer and some of the biggest names in music. But behind that extraordinary CV is a much more interesting story about confidence, instinct, relationships — and what it actually takes to survive for decades as a professional musician. In this episode of Now That's Bass, Guy talks candidly about the imposter syndrome he felt working alongside the world's elite session musicians, why Bernard Edwards asking for him still seems extraordinary, and why being good in the room may have been as important to his career as being good on the bass. Want to jump to the cool stuff? 00:34 Why bell ringing got Guy more press than playing bass03:22 How Guy first found the bass07:29 Learning by ear and making music without reading09:56 When playing bass became a possible career11:32 The first jobs: making a living with no plan B20:49 Why people kept calling Guy back23:40 Does imposter syndrome ever go away?26:31 What Bernard Edwards meant to Guy32:00 From band member to session player35:13 Murder on the Dancefloor and the bass line you barely notice37:08 Guy’s process for creating a bass part40:34 Has the music business become harder for working players?43:38 What Guy would tell his younger self about a music career47:38 The relationships that disappear between tours49:32 How to handle life when a tour ends51:22 Bass lines Guy wishes he’d written54:35 The bass part Guy is proudest of56:28 The bass players who give Guy stage fright58:47 How Guy became a stand-up storyteller1:01:43 Recording with Robbie Robertson1:04:41 The time Michael Jackson hid in the studio1:07:21 One bass line every player should learn Still want to read more... We get into how Guy actually creates bass parts in the studio, why he sometimes starts with absolutely no idea what to play, the 17-minute session that produced his bass part on Murder on the Dancefloor, and why he believes a great bass player can sometimes be like a great waiter: you barely notice them, but everything gets done. Guy also reflects on an industry that has changed almost beyond recognition. He explains why the music business may look bleak while opportunities for working players aren't necessarily as bad as they appear, why personal relationships matter so much to making great music, and the huge amount of downtime that nobody sees behind a successful touring career. Plus: playing with Bernard Edwards, being wound up by David Gilmour before a Pink Floyd bass solo, recording Earth Song and Like a Prayer, working with Robbie Robertson, the bass lines he wishes he'd written — and why bell ringing has somehow generated more media attention than almost anything else he's done. Subscribe to Now That's Bass for honest conversations with professional bass players about playing, careers and what it really takes to make a life in music. #GuyPratt #BassGuitar #BassPlayer #PinkFloyd #DavidGilmour #NowThatsBass #madonna

    Guy Pratt: Pink Floyd, Madonna & the Truth About Making It as a Bass Player

  5. Sep 11

    “Playing Music Shouldn’t Feel Like Work” | Nathan Mays on Music, Burnout & Finding a Better Way

    What happens when the career you spent years building starts taking away the thing you loved about music in the first place? Nathan Mays has been playing bass for more than 23 years, working across country, variety bands, musical theatre and more experimental music while also studying music composition to Master's level. But after years of gigging, Nathan found himself becoming increasingly disillusioned with the professional music scene. Music was becoming a job — and, in his words, "playing music shouldn't feel like work." So he stepped back. Today, Nathan's focus is increasingly on music education, where his experiences as a player, composer and teacher have come together in his own approach to learning bass: Feel, Form and Function. In this episode of Now That's Bass, we talk about: • Why Nathan stepped away from the professional music grind • The darker side of the music world that musicians don't always talk about • What real gigs teach you that music school can't • Why chops don't matter if you can't actually do the job • The problem with collecting information instead of actually learning • Why so many bass players practise without a target • Whether "feel" can really be taught • Why pocket changes depending on the music you're playing • Nathan's Feel, Form and Function approach to bass • Why recording yourself could transform your practice • The problem with cookie-cutter music education • Why young musicians need to learn to take criticism • And why Nathan thinks every bass player should learn "Chameleon" It's a conversation about bass, but also about something bigger: what happens when your definition of being a successful musician changes. If you enjoy honest conversations about the realities of building a life around the bass — not just gear and chops — subscribe to Now That's Bass for more interviews with working bass players, educators and musicians. #NowThatsBass #NathanMays #BassGuitar #BassPlayer #BassLessons #BassEducation #MusicEducation #BassPractice #WorkingMusician #BassPlayers

  6. Aug 28

    “They Made Me an Offer I Couldn’t Refuse” | Morgan Nicholls on Muse, Gorillaz & 30 Years of Saying Yes

    Morgan Nicholls has built the kind of music career that's almost impossible to plan. From starting out with Senseless Things to playing with The Streets, Gorillaz and ultimately spending 15 years onstage with Muse, Morgan's story is one of versatility, relationships, being in the right place at the right time — and being ready when the phone rings. In this episode of Now That's Bass, Morgan talks about being "relegated" from guitar to bass, learning his craft through relentless gigging, discovering the bi-amped bass sound that changed his playing, and the phone call that gave him just days to learn a Muse set after Chris Wolstenholme broke his wrist. We also get into his first terrifying Muse show, how a temporary bass dep turned into 15 years with the band, the chaos of early gigs with The Streets, performing with Gorillaz, and why getting on with people may be one of the most important skills a professional musician can have. Morgan also shares what he wishes he'd learned when he was younger, the bass lines that influenced him, the instrument he'll never sell — and somehow we end up with Arnold Schwarzenegger, Elton John and a packet of Old El Paso tacos. A brilliant conversation about longevity, adaptability and building a life in music without ever really having a master plan. In this episode: Being "relegated" from guitar to bass 150 gigs a year with Senseless Things Why Live at Leeds changed Morgan's approach to bass Finding his bi-amped bass sound The unexpected call from Muse Learning Chris Wolstenholme's bass parts in days What went wrong during Morgan's first Muse show How a temporary dep became 15 years with Muse Playing with Gorillaz and The Streets Why personality matters on tour The importance of treating the crew as part of the band What Morgan wishes he'd learned when he was younger Glastonbury, Arnold Schwarzenegger and tacos at Elton John's house #MorganNicholls #Muse #BassGuitar #BassPlayer #NowThatsBass #Gorillaz #TheStreets #SenselessThings #ChrisWolstenholme #BassPlayers #ProfessionalMusician #TouringMusician #SessionMusician #MusicPodcast #BassPodcast #MusicianLife #BassCommunity #BassGuitarist #BritishMusic #MusicIndustry

  7. Aug 19

    “Bass and Drums Aren’t Two Instruments… They’re One” | Smiley Barnard | The Rhythm Section

    The Rhythm Section: Smiley Barnard What do bass players look like from the other side of the drum kit? Welcome to The Rhythm Section, an occasional Now That’s Bass series where I turn the tables and talk to drummers about the bass players they’ve worked with, what makes a great rhythm section — and what bass players can do to make drummers love playing with them. And there aren't many better people to start with than Steve “Smiley” Barnard. Smiley's career has seen him play with Robbie Williams, Joe Strummer, The Alarm, The Boomtown Rats, From The Jam, Archive and The Stranglers — putting him alongside an extraordinary list of bass players including Jean-Jacques Burnel, Bruce Foxton, Pete Briquette, Derek Forbes, Jonathan Noyce, Tony Visconti, Yolanda Charles, Dale Davis, Lee Pomeroy, Matt Round and many more. We talk about what separates the truly great bass players, why Smiley believes you can tell whether a bassist can play within the first five bars, and why feel, space and personality matter far more than showing everyone how clever you are. Smiley also explains why playing with a Chaka Khan bassist taught him to stop playing drum fills, why Paul McCartney and Ringo Starr may be the ultimate rhythm section, why Adam Clayton deserves far more respect — and why the bass player is the “pivotal glue” that completes a track. Plus: J.J. Burnel, Bruce Foxton, James Jamerson, Sting, Mani, Tina Weymouth, Joe Strummer, Jimi Hendrix, Stevie Wonder, U2, The Beatles and the perils of musicians who simply won't stop playing between songs. This is The Rhythm Section — bass players, seen from the drummer's seat. #NowThatsBass #TheRhythmSection #BassPlayer #BassGuitar #Drummer #RhythmSection #BassPlayers #Drummers #Musicians #PaulMcCartney #RingoStarr #AdamClayton #TheStranglers #JoeStrummer #TheAlarm #robbiewilliams

    “Bass and Drums Aren’t Two Instruments… They’re One” | Smiley Barnard | The Rhythm Section

  8. Aug 15

    “You Can’t Just Be a Bass Player” | Marcel Pusey on Building a Life in Music

    Bass player, composer, producer, educator and music entrepreneur Marcel Pusey has built the kind of career that rarely gets talked about enough. Rather than relying on one gig, one band or one big break, Marcel has spent decades creating a sustainable life around music — performing with Bassistry, composing for television and media, developing music education programmes, working in music technology and taking his work around the world. In this episode of Now That’s Bass, Marcel talks about starting out playing rock and learning largely by ear, blagging his way through reading gigs, discovering jazz and fusion, and finding his place in London's music scene. But the bigger story is how he learned to make music pay without giving up the music he actually wanted to make. We talk about why jam nights were crucial to building his network, why musicians need to understand the business side of their careers, the importance of creating multiple income streams — and what happened when Marcel said yes to opportunities he wasn't entirely sure he was ready for. There’s also a gloriously painful story involving an orchestra, a piece in 7/8 and the moment his sight-reading bluff was very publicly called. In this episode: Why learning music by ear remains such an important skill What old-school learning gave musicians that YouTube sometimes doesn't How jam nights helped Marcel build his career Why networking works best when it doesn't feel like networking Creating multiple income streams as a working musician Why your band doesn't necessarily have to make money to be valuable The business skills musicians often overlook Saying yes before you're completely ready Dealing with imposter syndrome Why getting something wrong can still move your career forward Marcel's advice to young musicians: go for the goal, but stay flexible If you're trying to build a sustainable career around playing music rather than simply waiting for the perfect gig to arrive, there's a lot in this conversation. #NowThatsBass #MarcelPusey #BassGuitar #BassPlayer #BassPlayers #BassCommunity #WorkingMusician #ProfessionalMusician #MusicCareer #MusicBusiness #SessionMusician #BassLife #MusicianLife #MusicEducation #Bassistry

    “You Can’t Just Be a Bass Player” | Marcel Pusey on Building a Life in Music
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About

Now That’s Bass is a podcast about the real world of professional bass playing. Hosted by bassist Pete Roythorne, the show features frank conversations with working bass players — touring musicians, session players, educators and gospel players — about what it actually takes to sustain a career in music. No fantasy. No gear flexing. Just the reality of the job. The podcast is also part of a personal mission. Just before Christmas Pete was made redundant. Approaching his 60th birthday, he decided it was time to stop talking about doing something serious with his bass playing and actually do it. So he’s getting back out into the bass world. Each episode features honest conversations with bass players who’ve built real careers — touring internationally, working in sessions, teaching thousands of students, and sustaining a life in music for decades. Along the way Pete asks the questions many musicians want answered: What does it actually take to make a living playing bass? How do you build a reputation? And how do you stay in the game long term? If you’re serious about bass — not just the instrument but the long game of being a musician — this podcast is for you.

Information

  • Creator
    Pete Roythorne
  • Years Active
    2026
  • Episodes
    30
  • Rating
    Explicit
  • Copyright
    © Pete Roythorne
  • Show Website
    Now That’s Bass

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