In January of 2025, Nicole Fiorentino was at her new home in Portland, Oregon when she received an unexpected DM from Shirley Manson of Garbage asking her if she’d be interested in taking on the bass role for the band’s upcoming tour. Being a huge fan of their music, Fiorentino was surprised and taken aback, but realized it was actually happening when she then received an email from the band’s drummer, legendary producer Butch Vig. No stranger to stepping into an iconic outfit’s roster after her four years with Smashing Pumpkins, she began woodshedding Garbage’s catalog and then joined them as they embarked on a tour that would extend beyond 2025 and into 2026.

All the while, Fiorentino had been focusing on her band Bizou, who had been hard at work on their first album in five years, with the sophomore follow up to 2021’s Tragic Lover. Bandmates Josiah Mazzaschi (Light FM, Child Seat), Marisa Prietto (Wax Idols, Glaare), and Nicki Nevlin (Light FM) had been sending her song ideas and she would put her melodic and driving bass touches to them during an album process that spanned over two years. Widow (EP) shows the evolution of the band’s dark shoegaze style where melodic vocals, spacey synths, and melodic guitars hover over Fiorentino’s moving bass lines. Regardless of what band she’s playing in, her style has become recognizable and distinct in delivery, which only adds to the increasing demand for her playing.

What was the Widow writing and recording process like for you? 

Since the last Bizou record I have joined Garbage and moved up to Portland from L.A., so a lot has changed for me! I’m now in a long-distance relationship with Bizou which means we mostly work remotely. Josiah, Mina, and Nicki will send me song ideas and I’ll send them bass ideas back and forth until we work it out. Sometimes I get to work with them in person if I’m down in L..A for Garbage rehearsals, but it’s rare these days. That’s why we are so excited for our record release show on November 3rd at Golddiggers in L.A. It’s been over three years since we’ve even played a show together!

Was it because of the distance that made the album process span a couple of years?

It was just a lot of sending music back and forth, and being patient with each other as we all have other projects, lives, and relationships. But the love is there, so we want to keep this project going even if at a snail’s pace. I’ve worked with Josiah and Nicki for years in different projects, so we have an understanding of how each other works.

How did you track your bass for this EP? 

I used my trusty Reverends and went 100% DI for this one.

You’ve used a SansAmp DI in the past, did you bust that out for this? 

There was a little SansAmp action on these recordings, but I mostly just let Josiah work his magic. He’s not only the co-songwriter, along with Mina, but the producer and engineer as well. The man is like a wizard! I love how my tone came out.

Your writing plays a prominent part in these songs. How would you describe the role of bass in Bizou?

The bass in this band serves as kind of the icing on the cake more than anything else. Most of the songs are written on keys and guitar and I just try to add in sprinkles of my style here and there.

Your lines are always propulsive rhythmically but also carry a lot of melody. What makes a good bass line in your opinion?

I think you nailed it by saying propulsive rhythm and a lot of melody. That’s always the combination I strive to bring to the table in all my bass lines. My style is a reflection of some of my biggest heroes. I think I bring a little of my bass inspiration from Simon Gallup and Peter Hook to all of my writing. Or I try to anyway!

“Deep Rem” stands out with a cool main bass riff. How did you come up with that?

That one came pretty quickly after Josiah and Mina sent me a rough demo with just guitar and scratch vocals. Some of them come very easily and others make me work for it!

How would you say Bizou has evolved from Tragic Lover to Widow?

I would say this album moves us way more into experimental territory and it’s definitely more industrial than the last record.

What is a Bizou show like from your perspective?

Definitely dark, moody, and shoegazey, without taking ourselves too seriously. Lots of pretty gothic vocal harmonies layered on top of everything. We’ve been compared a lot to Cocteau Twins and Lush, which are huge compliments.

Have you acquired any new gear lately?

Two new Reverend Decision basses — one pink and one purple.

How different is your pedalboard for Bizou than it is for Garbage?  

Very different because I don’t have a board at all with Garbage. Our stage is extremely minimal! With Bizou I use my Line 6 M13 Stompbox, utilizing a lot of the chorus, octave and reverb effects.

What has the experience of being in Garbage been like for you?

It’s been a beautiful whirlwind! 2025 carried into 2026 with more touring in Europe and the UK. We just returned from that two-month run, and it was incredible, but super hot. There was a heatwave all over Europe for the majority of the run, but the shows were great, so it made up for it. They were almost all sold out and the energy from the audience felt like the band was in the ’90s again. A lot of young faces, and many of them knew the lyrics to the newer songs off their last record. Everyone in the band is genuinely incredible. I love them all not only as musical inspirations but as human beings. It’s my dream band, to be honest. And they’ve told me they want me for any future shows and touring that they do, so I’m pretty thrilled!

Garbage has such memorable bass lines in their songs. What has it been like performing them?

It’s an honor and a thrill to play those bass lines every night and backing up icons who have shaped me as a musician. Shirley has always been an inspiration to me not only as an artist but as an activist and feminist, as well. I wouldn’t be doing what I’m doing today if it weren’t for female representation in rock in the ’90s. It literally shaped who I am and the path I’ve chosen for my life. It feels pretty empowering to be playing those iconic bass parts while watching Shirley Manson do her thing at the front of the stage!

What’s it like playing with Butch Vig as a rhythm section?

I do actually have to pinch myself some days, but Butch is so laid back and has been so supportive and encouraging to me from the very start, with zero ego. I sometimes forget he’s the guy who produced the albums that made me want to be a musician in the first place. And then I remember and have a mini freak out. But then it’s back to, “Oh, this is just my rhythm section partner in crime, my good buddy Butch.”

What have been your most memorable shows so far with Garbage?

I think the one that comes to mind immediately is when we played with L7 in South America, and Shirley and I were watching from side stage. As they started to play “Pretend We’re Dead,” Shirley grabbed my hand and we ran out onto the stage to sing and dance with them. My 16-year-old self was dying! Made my ’90s dreams come true! I got to rock out with another inspiration of mine, Jennifer Finch, who I was lucky enough to become friends with on that tour. RIP beautiful Jennifer. I’ll never forget that moment!

Gear:

Basses Reverend Decision Series

Rig Mesa Boogie and Ampeg heads and cabinets

Pedals Line 6 M13 Stompbox

Strings D’Addario Mediums 

Picks Dunlop Tortex

Follow Nicole: HERE

Follow: Bizou