When Panic! At The Disco concluded their final show on March 10, 2023, in Manchester, England, Nicole Row felt a bittersweet mix of emotions as she closed out her five years in the band. Unsure what her next move was going to be, she decided she’d enjoy a little downtime and focus on her own playing. But as she arose the next morning to catch her flight home, a friend alerted Nicole that Mike Einziger of Incubus was trying to get ahold of her. “It was such crazy timing for that to happen when it did,” she says. “He asked if I was interested in coming out to play with the band. I asked for a day to recover from jet lag after coming off that long tour. A few days later, I was flying out to California to meet them and jam with them. It was pretty surreal.” 

Nicole made an immediate impression on guitarist Einziger, vocalist Brandon Boyd, drummer José Pasillas, and DJ Kilmore, as they asked her to join on as their full-time bassist. Longtime member Ben Kenney had left Incubus after recovering from a brain tumor, and Tal Wilkenfeld momentarily filled the position. Nicole’s pedigree in rock and alternative, combined with her background in R&B and soul, made her the perfect fit. With only weeks to woodshed the entire eight-album Incubus catalog, Nicole got to work on mastering the bass lines authentically and dialing in the many tones of Kenney and founding bassist Dirk Lance.

After hitting the road and receiving a warm reception from diehard Incubus fans, Incubus asked if she would record on their 23th Anniversary Edition of the seminal album Morning View [2001, Epic]. Having now had some experience with the music onstage, Nicole agreed and put her distinct touch on the songs — most notably via her chordal playing on the intro to “Nice to Know You,” her seismic electric bass and synth work on “Under My Umbrella,” and her deep grooves on “Are You In?” As the band now begins to write material for a new album, Nicole feels right at home in the tightknit group that welcomed her into their family. And her journey to getting there is proof that when one door closes, another one opens.

I mourned [the end of Panic] a little bit, but I felt positive. I’ve taken some strange risks in my career in regards to moving on without anything coming up, and seeing what happens. Obviously it worked out really well this time.

When the end of Panic! At the Disco was revealed, what was your reaction? 

I kind of saw it coming, but it was still a shock when I found out. Fortunately, my whole life prior was always rolling into the next thing. I’ve hopped around to different artists and doing my own thing on the side, too. When Brandon [Urie] let us know what was going to happen, I was more so sad that I wasn’t going to get to see those people as much anymore, because they’re such a fun group and we had the best time. I mourned a little bit, but I felt positive. I’ve taken some strange risks in my career in regards to moving on without anything coming up, and seeing what happens. Obviously it worked out really well this time.

What was it like learning Incubus’ large catalog of material?

Aside from having to take on a lot of songs at once — and I’m a perfectionist who wants everything dialed spot-on — it brought back so many memories. It was like revisiting high school for me. It was fun to get into each player’s vibe; Ben specifically has a unique style in the way he approached songs live, and how he would layer under Mike, almost like a guitar player. It gave me something new to do as a player.

So you were a fan of the band long before this?

Yeah, I had been for a long time. It was funny because when we got in the room to jam, they asked if I knew any of their songs, and I was holding back laughter explaining that I could sing all of them.

Incubus has definitely gone through a few phases between the distinctive playing of Dirk and Ben. How much of your own style are you bringing to this music? 

I gauge the environment in every group I’m with. They hire you for a reason, and I’m sure they’d listened to things I’d done before, so I didn’t want to walk in and clean house. Also, I really enjoy the way Ben played stuff. I came in and learned Ben’s approach for the most part, and then went from there. As everything has taken shape in the past year or so, I’ve extended my wiggle room, and I’ve started changing things for myself. They jokingly and lovingly call my playing “yachting” when I go off a little.

The first set we did together, they put “Karma, Come Back” at the top of the list, and it starts with bass. I told Brandon that he threw me to the wolves with that one.

What were the first few shows like for you? 

They actually felt very comfortable, believe it or not. We had done a lot of rehearsals and spent a lot of time together. The first shows were casino venues, which was great for me because they were intimate. I laugh about it, because on the first set we did together, they put “Karma, Come Back” at the top of the list, and it starts with bass. I told Brandon that he threw me to the wolves with that one.

How did you decide which basses to use?

I spent a lot of time thinking about what I wanted to use, and at the end of the day, I wanted to stay myself sonically. My basses are my tone. You want to come in with something you’re comfortable playing and that you want to use long term. So, I went into it with my F Bass 5-string and my Fender Marcus Miller Jazz; those are close enough to the sound that the fans are nostalgically attached to, but they were also comfortable for me. Bringing in my own basses was like wearing fun socks with a suit, you know?

What’s the bass tone that you strive for? 

Its natural sound has to be everything you need regardless of pedals or anything else. A bass has to sound good through a clean DI. I like a bit of a modern sound with a warm, thumping, clean, driven R&B bass tone. That’s where I’m happy. But I can’t make [a bass] sound like that with my hands if it doesn’t play how I need it to.

What about playing techniques? Dirk was all fingerstyle and slap, and Ben primarily used a pick and some fingers.

This is fun and very humbling for me, because pick playing is not where my pocket lies, yet. That’s something I’ve adapted to slowly. I chose certain songs that I couldn’t do without a pick, like “Melomaniac” or “Absolution,” and really worked on those. The more comfortable it’s getting, the more I’m throwing it in. Using the pick on those tunes grabs the listeners and the band better than fingerstyle. I’m classically a fingerstyle player. There’s not much slap in the songs we’re playing now, but hopefully that will come because I love all of that slap stuff. I brought up playing “Redefine” and “A Certain Shade of Green” the other day, so hopefully those will be added soon. Maybe the guys were being kind to me right out the gate.

Which pedals are you using to replicate the sounds on the records?

The techs and crew would laugh so hard if they were sitting in on this conversation. This has been such a process. Prior to Panic, I didn’t touch pedals; I was that annoying person who felt all of the sound had to come from their hands. With Panic, I had some pedals, and with Incubus it’s been full on. I was dipping my toe in the water with it, asking if it was too much, because it all felt like so much. And the guys always wanted more. I’ve been talking to Ben about his pedals and how he got his sounds. He told me that certain parts were “everything on” songs. The pedalboard is still changing and growing as I find what I like and what was there prior. It’s slowly forming.

So Ben has been helping you acclimate to the role?

Yeah, for sure. We mainly discuss the tunes and his approach to things and the way I might do it differently. I texted him the other day about a sound he was using for a song, and he said that honestly, he wasn’t even sure. It’s mostly just sound-oriented, but I would love to get a beer with that guy.

You began recording on Morning View 23 very early on in your time in the band. What was that like?

That was exciting for me. They went into the original Morning View house and recorded it live with Ben, and then they asked me to be a part of it when I joined them. When we hit the road, I recorded the whole thing from random hotel rooms with bad power. I would plug in my system and everything would be humming, and I wouldn’t be able to record that day. As this process unfolded and I sent bass tracks in, the band decided to come together to add some things. Then we got into the studio to do some of it together, which was a thrill. We got deep into it and got to create together. That was where I truly got to dive into how to “Nicole-ify” things. But also, Morning View is such an important album for the fan base, so I tried to keep [my parts] close to original. I love how it turned out. It sounds so big and beautiful.

I love your intro to “Nice to Know You.” How did that come about? 

That was a one-off thing that we stumbled onto when we jammed it, and we morphed it into what we’re currently doing, live. That bit was special to the Hollywood Bowl show we played, because it happened one time and it’s on the record, and that’s it. I just started playing those chords and everyone went with it.

How fun is it to play “Are You In?” as a bass player?

That one takes me back to when I was a teenager hanging out in a park smoking weed [laughs]. Every time we play it, we do something different because there’s a lot of open space to jam around in, so I like to groove and play around with José’s drumming there.

What is it like being in a rhythm section with José? 

It’s energetic. That’s the key word. He’s such a clean and tight player every time. I find myself wanting to turn and just look at him and engage with him. He’s so creative and he just goes for it and leans in at all times. I want to share that energy with him.

Mike is a composer who writes very filled-out arcs and riffs on guitar. What’s it like playing alongside him? 

It’s been a very evolving part to this process. It’s a very different approach for me versus things I’ve done prior. I find that the more I play complementary melodic lines, the more we thrive together. It’s like two puzzle pieces that you have to fuse together. Simple bass grooves are obviously important, but sometimes when we’re having our one-on-one writing sessions it’s a lot more intricate than I had expected, which is a lot of fun for me.

The band is currently working on new material. What’s it like during the creative process, stepping into a group that has been together their whole lives?

I have to stop to ask what the jokes are, because I get so lost listening to them talk all the time. They’ve been a family for so long. They know each other so well and their humor runs deep. I’m just now tapping into it. As far as the music goes, it’s been surprisingly easy. It’s funny, because it’s about music, but it’s more of a band experience versus just people. If you don’t have that family clique, then the music doesn’t come.

That has to be a high contrast to Panic, where Brandon Urie wrote and recorded everything himself.

For sure, because I get to bring all of myself into this situation. In other projects, which is very common in the world of hired guns, you show up and play what’s been written. When you get to do it within a band setting, it’s extra special.

It’s a very emotional, eyes-closed experience onstage. Whether or not they know it, that’s what they’re creating. It’s a channeling experience between them and their audience and less of a performance in that sense.

What is an Incubus show like from your perspective?

I feel like this sounds cheesy, but it’s a very emotional, eyes-closed experience onstage. Whether or not they know it, that’s what they’re creating. It’s a channeling experience between them and their audience and less of a performance in that sense. There was awesome energy onstage with Panic, but that was more of a wide-eyed adrenaline experience, whereas Incubus is much more about listening and being present.

It took the fans a minute to accept Ben after he replaced Dirk. You seem to be getting a warm reception right out the gate.

I was surprised. I’m the same way — like, when Sublime got a new singer, I was pissed [laughs]. I understand what the fans think and how unfun it is to let someone new into something that you’ve been so deeply invested in. But the fans have been welcoming since the beginning, and everyone seems cool with it.

Which songs have been the most fun for you to play onstage so far? 

“Just a Phase” for sure; that’s my favorite right now. I love the rolling groove, and I’m singing on it, too. I love “Karma, Come Back” because it’s super bass-oriented. I tend to love slow, groovy, feel stuff, and that’s what I enjoy live, as well. I love songs that feel really good to me on bass — the ones that make me make that face when I’m playing them.

What have you been working on in your own practice?

Ugh, I’ve been chasing that [practice] time like crazy lately. Since I started working with them, it feels like we hit the ground running. I try to make sure that every morning, I wake up and just play like Nicole. I work on my technique, my hands, playing softly, and all in a calm environment. I just sort of play things that make me feel close to who I am individually. Doing that is almost more important than shedding tunes. It makes me connected to the joy and love around the music. And then when I go into a rehearsal, that unfolds onto all of the songs. The shedding is less than I would love it to be right now, but it’s very intentional.

Hear Her On: Incubus, Morning View 23 [2024, Epic]

Gear

Bass F Bass 5-string, Fender Marcus Miller Signature Jazz

Amp GK Legacy 800 head, 115 and 212 NEO IV cabinets

Pedals Dunlop Volume Pedal Mini, Electro-Harmonix POG, MXR Phaser, Ibanez Chorus, Darkglass Vintage Microtubes, Electro-Harmonix Bass Big Muff, Darkglass Microtubes B3K, MXR Envelope Filter, Mini Crybaby Wah, Strymon power supply

Strings La Bella RX NP .045–.103

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