Hey guys, how's it going? Scott's bass lessons.com and I'm here with episode 23 of the

Scott's Bass Lessons podcast. And today we are joined by the awesome London-based bass player Ian King.

Ian's provided the low end for artists such as the Temptations, the Supremes, Sister Sledge, Paul Young,

West End shows such as Shrek, Jesus Christ Superstar, Sister Act, and he's currently playing in the award-winning show The Book of Mormon,

which my wife and I actually tried to see in New York, but we couldn't because the tickets

were sold out. It's apparently a really, really cracking show. So if you do get to see it,

especially if you're in the West End, obviously, go check it out because Ian is holding down the

low end on that. And as you're going to hearing this interview, he's got oodles and oodles of experience.

Yes, oodles is a word. Oodles and oodles of experience in both the session, theatre and gigging scene.

And he was cool enough to come in and sit down with us and share what he thinks of, you know,

some of the key factors that base players, such as yourself, should be working on to break into,

well, if you want to, into the highly competitive theatre musician environment.

And it is a ferociously competitive place to try and get into he's going to be talking about how he started playing out on a holiday camp in his teenage years and why that turned out to be one of the most amazing learning experiences for his musicianship and his bass playing and a real, real fantastic

grounding. I myself did a very similar thing when I was, I think, 18, so similar age to Ian.

Well, not Ian now. Ian's actually 37 now. But yeah, back in my teen years, I did end up playing

in a theatre, a theatre holiday camp, which is in a real similar situation

to Ian and we'll talk about that in the interview.

He's going to talk about why playing in many different bands and in many different styles

was a real key to his bass playing and the success he's had in the West End.

He's going to be talking about and telling you why that

younger players straight out of college shouldn't just, you know, head straight for the West End and

Broadway and try and get in there. And they should try and, well, I'll let you, I'll let him talk about it

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