From his early days as a bassist within the vibrant music scenes of NYC and Nashville to his present position as a composer for Soundstripe, Matt Wigton has at all times embraced selection and creativity. With an ear for the sudden and a love for sonic exploration, Matt continues to push musical boundaries, redefining what it means to be a genre-spanning creator.
Discovering the sting: Creativity simply left of middle
Matt’s artistic engine is fueled by discovery. “What has at all times been an inspiration for me when creating is looking for new sounds or compositional/orchestrational approaches that may get me just a bit ‘left of middle’ the place I can problem the viewers’s ears,” he shares. “It is virtually like a sport to me. I really like the distinctive and the compelling.”
This quest for originality doesn’t come from a want for recognition, however from a deep, inside drive to make music that retains listeners only a bit off steadiness—in the easiest way.
A musical chameleon: Thriving in selection
Having constructed a profession that spans genres, Matt resists selecting a favourite. “I do not know that anyone [genre] excites me greater than the opposite. I really like the range,” he says. From cinematic scores to ambient textures to genre-bending beats, he thrives on the problem of switching lanes, usually inside the similar month.
This adaptability was honed throughout his 20-year stint as a bassist, the place taking part in in a variety of bands wasn’t simply widespread—it was his candy spot. That very same flexibility now fuels his work with Soundstripe, the place no two initiatives are fairly the identical.
Bridgerton: A profession milestone
One among Matt’s most seen credit to this point is his string quartet adaptation of the Nick Jonas tune Jealous featured within the Netflix hit Bridgerton. However for Matt, the actual pleasure wasn’t within the highlight—it was within the craft.
“I’ve by no means felt like an artist. I don’t like the eye that comes together with being an artist,” he says. “I want to think about myself extra as a composer and producer.” When his former supervisor advised the undertaking, it instantly piqued Matt’s curiosity. The intricate technique of adapting pop to chamber music gave him precisely the form of puzzle he loves.
And the payoff? 4 years of perseverance from Ashton lastly landed the piece within the present.
Scoring HBO: Behind the ‘Tokyo Vice’ trailer
Matt’s first trailer scoring alternative got here within the type of HBO’s Tokyo Vice season two, and the timing couldn’t have been extra intense. “My spouse and I had been in Nashville prepping our home to promote AND we had been about to embark on a three-month stint within the Netherlands,” he remembers.
Regardless of the whirlwind, Matt delivered. “I would be mendacity if I stated I wasn’t nervous,” he admits. “However I wished to crush it—for the staff, for Soundstripe, and extra importantly, to show to myself I used to be able to taking up such a giant alternative.” That top-pressure problem became a defining second in his profession.
Trying forward: Evolution via experimentation
What’s subsequent for Matt Wigton? In his personal phrases: “I’ll proceed to push boundaries sonically, creatively, compositionally, and orchestrationally. I would like my music to evolve as I do, and because the world round me does.”
As a creator who’s by no means content material with the established order, Matt’s path ahead is as thrilling and unpredictable because the music he makes. Whether or not he’s crafting a moody trailer rating or experimenting with orchestral textures, one factor is for certain: Matt Wigton will preserve us listening carefully—and somewhat off-center.