Soundmakers: Pit Musicians

Pit musicians are some of the most versatile players in music. Night after night, they’re responsible for delivering consistent performances across a huge range of styles, dynamics, and tones; all while supporting the cast and keeping the music moving seamlessly behind the scenes. 

Currently on the nationwide tour of Hell's Kitchen, guitarist Azana Hightower is part of the team bringing the show’s music to life each night with her SE DGT. We caught up with Azana to talk about life as a pit musician, adapting to the demands of theater performance, and how the SE DGT fits into the show night after night.

Azana: It’s really cool to play music I grew up listening to every day with great musicians. My Dad used to play Alicia Keys’ album The Element of Freedom on repeat in the car. To go from listening to her music growing up to now playing these amazing arrangements by Adam Blackstone, who is a huge inspiration, and Tom Kitt, is awesome. This is my third time touring with a musical, and it’s always rewarding playing for new audiences each day, especially because we’re bringing this story to people who might not have seen the show when it was on Broadway.

Azana: Although I’ve played the show more than 200 times, it is most of the audience's first time seeing the show ever. So I’ve learned what it takes to bring energy to each performance. It requires a great deal of stamina to play this score consistently each day. Playing in pits has also refined my adaptability as a musician. Even while being precise when playing, things happen like breaking a string or having to make unexpected adjustments due to gear malfunctioning during a show, etc. In live theatre, anything can happen, so being able to adapt and be flexible has been invaluable as a musician.

Azana: It can be challenging at times playing in a remote room vs. an orchestra pit because you don’t feel the energy from the audience as much when in the remote room. I navigate being in a remote room separate from the stage by being consistent, staying focused, and aiming to serve the show and bring it like it’s a live concert because that’s the vibe of Hell’s Kitchen, regardless of location.

Azana: People may be surprised that many guitar books for musicals have doubles. Doubles are additional instruments you play for shows. There are musicals where I’ve played up to six instruments, including electric guitar, ukulele, dobro, banjo, nylon string, and acoustic guitar. Also, the schedule might be surprising to people. Playing eight shows a week on the road is very demanding and can take a toll on the body. We have Monday off, which is sometimes a travel day, and evening shows Tuesday - Friday, followed by two shows on Saturday and usually two on Sunday.

Azana: So many of the guitarists I admire play PRS guitars like Chris Payton and Paul Jackson Jr., so naturally I was drawn to these guitars. What stood out immediately when I first picked it up is that the neck felt super smooth and comfortable.

Azana: It is versatile, so it works well for a contemporary show like this, where it’s a mixture of many genres. There’s a bit of everything in Hell’s Kitchen: Pop, R&B, Jazz, Funk, Gospel, you name it, and the SE DGT guitar sounds good in all of them.

Azana: It can move from a nice, clean jazz or warm R&B tone to handling stuff with more bite to it, like distortions and rock tones.

Azana: I stay locked in by catching live music in different cities when I get a chance, seeing nature, going on hikes, and making sure I rest between shows. Seeing live shows gives me inspiration, and experiencing nature helps me feel rejuvenated.

Azana: Currently, I plan on playing for the next year of the North American tour of Hell’s Kitchen (2026-2027). I’m looking forward to playing some gigs back home in Boston and other cities when I have breaks from touring and playing for R&B, Pop, and Gospel artists. I’m also planning on doing some recording as well on my break in August.