Life as a Musician in Los Angeles — What It’s Really Like
Ever wondered what it’s actually like to make a living as a musician in Los Angeles? The city may be known for its glitz, but behind the scenes, LA’s working musicians are juggling packed schedules, long commutes, and relentless self-motivation. Meet the Gold Line Quartet, a saxophone ensemble that knows the hustle inside and out. Based in neighborhoods like Pasadena, Koreatown, Inglewood, and Glendale, these four musicians balance teaching, gigging, arranging, recording, and performing — all while keeping their group tight and performance-ready.
Isaac Lopez: The Hustle Never Stops
A typical week for Isaac Lopez starts and ends on the Metro. He covers serious ground — from Boyle Heights to the Pacific Palisades, and as far south as Torrance — hauling his instruments and gear across LA. “I use public transit every day,” he says. “I’ve memorized the schedules. That’s how I survive.” He teaches at nonprofit schools that rely on dedicated educators, rehearses kids to keep them focused, and jumps into any gig that needs a pro — even if that means playing ukulele.
“Music is my oxygen. All my free time is dedicated to Gold Line. That’s how I roll.”
Beyond teaching and freelancing, Isaac records and performs in a range of settings, from local community events to concert collaborations with the San Francisco Symphony. But his artistic center of gravity is Gold Line Quartet.
Hardest part of GLQ? Memorization. “It’s not just muscle memory. It’s mental, emotional. You have to lock it in.”
Best part? “I’m playing with my equals. These guys can stand up to anything I ask. That’s rare. And it’s cool introducing new audiences to the saxophone — like, actually showing them what the horn can do. And when they see all four saxes up front, it really clicks.”
Advice for newcomers: “Network. That’s it. People need to know your name before they hear your sound.”
Rachel Wolz: Precision Through Preparation
Rachel Wolz keeps her calendar simple, but her schedule is intense. Her week is fully centered on teaching and preparing for Gold Line rehearsals. “I make time work for me,” she explains. “I know I can’t do everything at once — and I know how to say no. That helps a lot.”
Rachel’s academic chops run deep. She studied at UCLA under Dr. Baker, and her competition wins with saxophone quartets in Oklahoma taught her how to deliver under pressure. She’s known in the group for being laser-focused. “I won’t show up to rehearsal if I’m not ready to roll with the group,” she says. “It’s not fair to them.”
“It’s a rush to perform everything by heart. Everyone brings something fresh — Isaac’s savvy, Joseph’s musical, Jacob’s business-minded, and I’ve got a pulse on the academic world.”
She recalls a recent performance where the audience was made up entirely of saxophonists. “There was so much tension — but also so much electricity. Playing for that room and seeing them actually love what we did… that was huge.”
Hardest part of GLQ? Memorization. “You have to be off-book for our concerts. Everything. It’s a huge lift, but it’s worth it.”
Best part? “They all love my jokes — or at least they pretend to. Ha! But seriously, I love GOQ. It’s a rush to perform everything by heart.”
Advice for newcomers: “Get a degree. It opens up teaching opportunities, and that’s key to sustainability.”
Joseph Spence: The Multifaceted Artist
Joseph Spence might be arranging orchestral-style saxophone charts one day and recording an audiobook the next. His week is a mix of voice acting, arranging music, teaching students out in Rancho Cucamonga, and preparing original music for Gold Line’s performances. “You have to wear a lot of hats if you want to survive in LA,” he says. “People underestimate how many jobs go into being a musician.”
His roots in music run deep — his father is also a professional musician. “I grew up around this. It’s in my blood.” For Gold Line, Joseph handles a lot of the arrangements, creating music that makes their shows unique. “I love that they play my pieces. And the tenor voice — which often gets overlooked — is really featured in our sets. I feel seen.”
Hardest part of GLQ? The arranging. “It takes time. And there’s pressure — because I want the music to mean something.”
Best part? “They trust my writing. And when we play something I wrote, and the crowd reacts — that’s it for me.”
He looks back at a Boston Court concert as a career highlight. “We shared some honey wine afterward — and it felt like a moment. Like, I knew I was in the right place with these people.”
Advice for newcomers: “Get reliable transportation. This isn’t a city where you can rely on others to get you to work.”
Jacob Hallman: The Digital Strategist
When he’s not handling web design and customer service, Jacob is building Gold Line’s digital identity. “That’s how we grow,” he says. “It’s not enough to play well. People have to find you.”
He remembers Boston Court clearly. “We played one of Joseph’s octet pieces. We brought in extra players. The house was full. We worked our tails off for that — and it paid off.”
Jacob has a pragmatic view of music in Los Angeles. “People assume LA musicians are rolling in cash or studio deals. Nah. The most important quality here is ruggedness. You have to refuse to quit. Everyone in Gold Line has their own reason for staying in this business, but they all have grit.”
Hardest part of GLQ? Finding work — and feeling responsible for keeping gigs flowing. “We all contribute, but I feel that weight.”
Best part? Playing by memory. “It just feels more real. More authentic.”
Advice for newcomers: “Get a roommate. Rent here is no joke.”
Jacob also has two kids. “There’s no such thing as balance. You just do your best. But when my kids dance to our music, or recognize something we play from JoJo’s Bizarre Adventure — that reminds me why I do this.”
The Reality of Life as a Musician in LA
Being a full-time musician in LA isn’t glamorous — it’s a grind. You’re a one-person business: marketer, performer, teacher, commuter, and gear hauler. You rehearse in Pirate.com studios, practice in bookstores like Vroman’s, and use every inch of your home for something musical. But the city also offers a richness few other places can. There’s space for collaboration, diversity, and the chance to truly connect with an audience that appreciates craft.
Misconceptions are everywhere. People think musicians don’t work hard. They think it’s a fallback career. But anyone who’s tried memorizing a 60-minute program, arranging four-part saxophone music, or teaching 30 kids in one week knows: this job takes everything you’ve got.
But the rewards? They’re real. When the audience gets quiet and listens. When a kid lights up after their first solo. When a gig turns into a repeat invite. That’s the stuff that keeps musicians in LA doing what they do.
Looking to bring live music to your event?
Explore Gold Line Quartet’s booking options or read more about what to expect when you hire a saxophone quartet.
Curious about LA venues? Check out Our Favorite LA Venues and Why They Sound So Good.