Anthony “Ant” Parrish has been touring as a bassist for major artists since 2004. Born in Albany, New York, he came up through Savannah, Georgia, and now lives in Atlanta. He picked up the bass at the age of five, and it seems he was always destined to play big. Today he is Music Director for T-Pain and Deitrick Haddon, and he is on the road as bassist for Alicia Keys. His credits also include Fantasia, Kelly Rowland, and Lil Baby.
Beyond the stage, he is active in music production and writing. He recently released the Sip Smoke Vibe series, led by the single “I See Ya”, which is now available on all digital platforms. He is also planning a music workshop, the Tourlife Collective, in Savannah. In this interview, we catch up with a musician whose love of creativity runs through everything he plays.
Anthony, thanks for taking the time to speak with Occhi Magazine. When you look back at your very first relationship with music—before it became a career—what did it give you that nothing else could, and do you still chase that feeling today?
Thanks for having me. The first relationship with music. I remember it giving me a sense of belonging to something that not everyone belongs to. Hearing and seeing the reactions I’d get as a kid playing anything from drums, which was the first instrument I started playing, to bass guitar, which is the weapon of choice now, and then realizing it’s only coming from a specific group of people felt good. I wouldn’t necessarily say I’m chasing that feeling today. Being where I am in this journey, I’m able to navigate to wherever I need to for that feeling to resurface. Rather, an open mic jam session, a listening session, etc.
Was there a specific moment you realized you weren’t just a fan or a player, but a professional—and what did that moment cost you in terms of innocence, freedom, or joy?
I lost my innocence. The year was 2016. I just started working with Alicia Keys, which was a big trust call, and to see how I handled it gracefully with no worries or nervous feelings, as if I WAS SUPPOSED TO BE HERE. Every other situation I was a part of, whether it was church, the bassist for an artist, or the musical director for an artist, had to change. I realized at that time who I actually was and what I deserved in all of these situations.
Early on, what did you believe the music industry was… and what was the first hard lesson that proved you wrong?
I learned that being overly nice can lead to manipulation, such as accepting less pay or being held back from other opportunities. People who could help your career are often self-focused, which was a huge lesson, so I needed to prioritize my own interests.
What’s a “good” industry lesson you learned the hard way—something that improved your life and career—but still left a scar?
Make sure you look out for yourself. I’ve been in situations where I was worried about everyone involved in a situation, as in “how will I look if I ask for…” or “what would this do for everyone else,” and I come out with the short end of the stick. Not to say just be selfish and that’s it lol, but in building relationships, business/friendship, etc., don’t forget about yourself.
What’s a “bad” industry lesson you had to unlearn later—something the business tried to normalize that you now refuse to accept?
Having some sort of relationship with the artist. It was brief, but in the beginning of my career, that was a thing. Don’t talk to the artist unless spoken to. My natural being just couldn’t get with that, lol. And you could possibly lose out on a bunch of things if there’s no relationship. Especially if you know they like what you do and who you are. That’s the blessing. Build in that moment.
You’ve worked alongside major names—T-Pain, Fantasia, Kelly Rowland, Alicia Keys, Lil Baby. What’s the biggest misconception people have about what it takes to operate at that level consistently?
That it’s as simple as playing your instrument really well and you’ll consistently get the call. There’s a whole lot more than playing that instrument. How’s your character, how do you handle business, are you prompt, etc.? 10% playing and 90% everything else.
Who were your real mentors -not just the people who gave advice, but the ones who corrected you, challenged you, or protected you when you didn’t even realize you needed it? What did they teach you that you still hear in your head?
That’s something that I didn’t necessarily have, unfortunately. I fell back on this my freshman year in college. Where I’m from, there’s no one who’s done it at this level. I’d say I started as one of, if not the greenest musician in my generation of musicians who do this at my level, lol. All I had was advice here and there and my will to learn as much as I can.
What motivates you when the applause is gone, and the work is repetitive—what’s the private fuel source that keeps you moving when nobody’s watching?
Honestly, talking to my son lol. He’s 17 now and a senior in high school, but he loves the live experience. So we talk about the show and then other things like sports and life. Knowing he’s who I do it for and his music appreciation, I do it.
HEF-D feels like more than a brand—it feels like a statement. What problem are you trying to solve with the platform, and what part of your own story made that mission non-negotiable?
The issue of established creatives investing their time and energy into aspiring creatives, who are just starting their journey at this level, and even supporting each other, is a significant concern. In this field, we lack a consistent support system in this area. While there is “Naam,” I look at it primarily as a gathering place, given its focus on gear and instruments for the musician.
With Sip Smoke Vibe and “I See Ya” out in the world, what do you want listeners to understand about you after they press play—beyond the vibe, beyond the polish?
I have another side in this creative world. I’d hope that people of all ages listen to my music and feel as free as I did making it.
You’re building TOURLIFE COLLECTIVE in Savannah. Why was it important to bring that workshop back home, and what do you hope a young artist learns there that you didn’t learn soon enough?
It was important to me to bring it home, being that’s where my roots are. Music and family. It’s where it all started. As far as what the young creative could learn, I’d say EVERYTHING lol. Another reason to bring it home is due to the fact that I didn’t have anything close to what I’m wanting to give in Savannah. A lovely city, but more of a retirement city lol. So I want to do my part for the crib and the creatives lol.
Let’s talk about the film, Icons Aren’t Born: The Anthony “Ant” Parrish Story. How did the project come about?
Well, Finise and I were on the phone. I can’t remember exactly why we were on the phone, but it had nothing to do with this film, lol. Then came the “How’s everything? What’s new?” part of the conversation. At the time, I was looking into possibly writing a book, which isn’t off the table, and I mentioned a documentary. In that moment, I remembered that Finise works in film, lol. Still in the initial thought process, I mentioned that if I went that route, I’d like her input. It quickly became a “it’s happening now” thing, lol. However, the tour I’m currently on, The Fall Off World Tour with J. Cole, was announced, and I’m his bassist. It was just the right time to at least start something. We’re still working on a full documentary, so this short is a peek into what’s to come.
What truth did you insist on keeping in the story—even if it made you uncomfortable—and what did working with director Finise Avery reveal about you that you didn’t expect to confront on camera?
Holding myself back from things I should have. A smidge of lack of confidence in who I am, more than in what I can do. Working with Finise has helped in how I talk about myself and the now “just do it” attitude.
Where can our readers find out more about you?
My instagram is ant_hefd, which is my main social, and my website is www.hef-dmusic.com. There you’ll find my music, updates on me, coming soon info, and updates on the Tour Life Collective!
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