From his early days as a bassist in the vibrant music scenes of NYC and Nashville to his current role as a composer for Soundstripe, Matt Wigton has always embraced variety and creativity. With an ear for the unexpected and a love for sonic exploration, Matt continues to push musical boundaries, redefining what it means to be a genre-spanning creator.
Finding the edge: Creativity just left of center
Matt’s creative engine is fueled by discovery. “What has always been an inspiration for me when creating is trying to find new sounds or compositional/orchestrational approaches that can get me just a little 'left of center' where I can challenge the audience's ears,” he shares. “It's almost like a game to me. I love the unique and the compelling.”
This quest for originality doesn’t come from a desire for recognition, but from a deep, internal drive to make music that keeps listeners just a bit off balance—in the best way.
A musical chameleon: Thriving in variety
Having built a career that spans genres, Matt resists picking a favorite. “I don't know that any one [genre] excites me more than the other. I love the variety,” he says. From cinematic scores to ambient textures to genre-bending beats, he thrives on the challenge of switching lanes, often within the same month.
This adaptability was honed during his 20-year stint as a bassist, where playing in a wide range of bands wasn’t just common—it was his sweet spot. That same flexibility now fuels his work with Soundstripe, where no two projects are quite the same.
Bridgerton: A career milestone
One of Matt’s most visible credits to date is his string quartet adaptation of the Nick Jonas song Jealous featured in the Netflix hit Bridgerton. But for Matt, the real excitement wasn’t in the spotlight—it was in the craft.
“I’ve never felt like an artist. I don’t like the attention that comes along with being an artist,” he says. “I prefer to think of myself more as a composer and producer.” When his former manager suggested the project, it immediately piqued Matt’s interest. The intricate process of adapting pop to chamber music gave him exactly the kind of puzzle he loves.
And the payoff? Four years of perseverance from Ashton finally landed the piece in the show.
Scoring HBO: Behind the 'Tokyo Vice' trailer
Matt’s first trailer scoring opportunity came in the form of HBO’s Tokyo Vice season two, and the timing couldn’t have been more intense. “My wife and I were in Nashville prepping our house to sell AND we were about to embark on a three-month stint in the Netherlands,” he recalls.
Despite the whirlwind, Matt delivered. “I'd be lying if I said I wasn't nervous,” he admits. “But I wanted to crush it—for the team, for Soundstripe, and more importantly, to prove to myself I was capable of taking on such a big opportunity.” That high-pressure challenge turned into a defining moment in his career.
Looking ahead: Evolution through experimentation
What’s next for Matt Wigton? In his own words: “I will continue to push boundaries sonically, creatively, compositionally, and orchestrationally. I want my music to evolve as I do, and as the world around me does.”
As a creator who’s never content with the status quo, Matt’s path forward is as exciting and unpredictable as the music he makes. Whether he’s crafting a moody trailer score or experimenting with orchestral textures, one thing is certain: Matt Wigton will keep us listening closely—and a little off-center.
