I’m about halfway through the audiobook Truly by Lionel Richie, and I highly recommend it, whether you read it or listen to it. One part really stood out to me, not because it was dramatic, but because it captured something I’ve seen in the music business for years.
Lionel talks about the late 1970s, a period when the Commodores were at their peak. Hit records. Sold-out shows. At the same time, his solo career was taking off, and he was writing massive songs for other artists, including Kenny Rogers. By any external measure, this was success on every level. Yet for years during that time and in the early 80s, Lionel didn’t win a Grammy. He couldn’t understand why. From his perspective, the work was there, the impact was undeniable, and the results were obvious.
At one point, Quincy Jones pulled him aside and told him to relax, saying his time would come. Then Quincy said something Lionel never forgot, and it stuck with me too:
It’s not who you know in this business. It’s who knows you.
This idea is true throughout the music industry, but it matters even more in New York City, especially if you want to break into Broadway. I talk about this often on the Broadway Drumming 101 podcast, in posts on the site, and in my book Broadway Bound and Beyond. The book explains how theater careers actually get built, not just how people think they do.
If you move to New York hoping to play on Broadway, you’re not alone. You’ll be one of thousands of drummers. Many are talented and motivated, all competing for the same few spots. The city is full of great players. But how do you stand out in a room where everyone can play?
This is where people may want to rethink their approach when reaching out to chairholders. Musicians may want to focus on how many people they know, but that doesn’t matter as much as they think it does. What really matters is whether those people know you, trust you, and feel comfortable connecting their name to yours.
Here’s why.
Once a show opens and people know who’s playing each chair, those musicians are constantly contacted. Emails, DMs, and texts come in from all over the city, the tri-state area, and even from around the world. Everyone wants a chance to sub and be next in line. Most of these messages come from skilled drummers who look great on paper and in Instagram clips. So what makes someone say yes?
Trust.
Trust means you’ll play the music correctly and not cut corners. It means you’ll sound right in that room, in that style, with that conductor. It means you’ll show up prepared, stay calm under pressure, communicate clearly, and avoid causing stress. Broadway pits don’t need heroes—they need professionals. That kind of trust rarely comes from a cold introduction. It builds over time through shared experiences. People want to know how you handle difficult charts, what you do when things go wrong, and if you can stay focused on the conductor.
Yes, you can introduce yourself and say, “Hi, I just moved here, and I’m an incredible drummer.” Confidence is good and expected. But confidence alone won’t get you the call to sub on a show. Your reputation will.
Your reputation doesn’t just come from your social media. It usually comes from playing music with others in real-life situations. Playing all kinds of gigs in all kinds of settings with different guitarists, pianists, bassists, music directors, string players, woodwind and horn players, and singers. People remember how you listen, how you support the group, and if you make the music feel better when you play.
That’s why it’s so important to get out and play outside of musical theater. Jazz clubs, singer-songwriter gigs, off-Broadway shows, club dates, readings, showcases, and even the small, odd, or low-paying gigs early on all count. These are the places where people get to know you—not just your playing, but your attitude and professionalism.
Most Broadway musicians also work outside the pit. You’ll run into them at places like Birdland, on recording sessions, concerts, club dates, or corporate gigs. You might not meet the Broadway drummer directly, but you may play with someone who knows them well. That’s often how real opportunities begin.
When a sub is needed, and your name comes up, it usually sounds like this:
“I know him. I played with him on a club date.”
“We did an off-Broadway project together.”
“He was prepared, solid, and easy to work with.”
That sentence is the key. When Lionel Richie said, “It’s not who you know, it’s who knows you,” he wasn’t talking about fame or status. He meant trust that’s earned over time, a reputation built by being consistent, and relationships formed through real work.
If you want to play on Broadway, take it seriously. Learn lots of styles of music, practice a lot, and be prepared. But don’t just stay behind your practice pad waiting for the perfect chance.
Get out and play.
Meet people.
Be reliable.
Have good people skills.
Be a good hang.
Be the kind of person other musicians feel good about recommending when your name comes up. That’s what will get you more gigs over time.
If you have gigs coming up, share them in the comments! I’d love to know where people are playing, meet some of you, and hear some great music too!
Thanks for reading!