![How Thought Process Keeps it Moving [EXCLUSIVE INTERVIEW]](https://theelectrichawk.com/wp-content/uploads/2026/03/Photo-Mar-17-2026-12-09-45-PM.png)
Joseph “Joe” Rich approaches music the same way he approaches life: thoughtfully, with curiosity leading the way. Under the name Thought Process, the Denver-based producer blends psychedelic bass, melodic songwriting, and an expanding collection of analog synths into a sound that moves between electronic production and live instrumentation. Over the years, the project has grown through steady experimentation and deep immersion in the local music scene that helped shape his creative path.
That path now arrives at a major milestone. On March 21, 2026, Thought Process will step onto the stage at Mission Ballroom in Denver, opening in direct support of The Floozies alongside Homemade Spaceship and The Sponges. The performance comes at an especially exciting moment for Joe, who is wrapping up a new album after more than a year of writing and exploring new production techniques in the studio.
As part of this next chapter, Thought Process just dropped the first single “Keep It Moving” featuring Rasp-5 & McWavy, offering fans an early glimpse into the sound and spirit behind the upcoming album.
LISTEN TO THE LATEST SINGLE “KEEP IT MOVING”
Ahead of the show, we caught up with Thought Process to talk about the origins of the project, the experiences that shaped his approach to music, and the creative energy driving this next chapter, as well as his newest family additions.
INSIDE THE THOUGHT PROCESS
KL: Thanks for joining me for an interview! How has your day been so far?
Joe Rich aka “Thought Process”: Super relaxing. We had guests at the house the past couple of days. My friend Jason, who goes by Face Plant, played at the Fiske Planetarium this weekend. He and his partner live out in Philly, and they have been staying with us since Thursday. We’ve just been hanging out and keeping it low-key. They left this morning, so it’s been a quiet day.
KL: I saw you recently adopted a new cat?
Joe: Yeah, we actually ended up adopting two. There’s a funny story behind it.
Catherine is my creative director and tour manager, so she travels with me to most shows and we’re on the road a lot. Raising a kitten just didn’t feel realistic for our lifestyle, but there’s this place in Denver called Cat Care Society that’s amazing. It’s kind of randomly off the side of the highway.
We were driving one day and decided we were ready to adopt. When we started looking through the cats online, we realized almost every cat there had some kind of disability or medical condition.
When we walked in, this tiny ten-year-old cat named Kitty immediately started following us around everywhere. I sat down on the floor, and she jumped into my lap right away. We connected instantly and put an adoption hold on her that day. They told us she needed dental surgery, though, so it would take a week or two.
We kept going back to visit her while she was recovering. At one point, the staff wasn’t sure if she was going to bounce back enough for adoption. While we were there, they introduced us to this two-year-old tripod cat with three legs, and we ended up bringing him home.
About a week and a half later, they called and said Kitty had made a miraculous comeback, and we had 24 hours to come pick her up. So, within about three weeks, we suddenly had two cats.
They had already been living at the shelter together for a while, so it made acclimating them really easy, but they’re complete opposites. One is this tiny old lady who mostly just wants to sit in your lap, and the other is this energetic three-legged little chaos machine.
KL: What is the other cat’s name?
Joe: The tripod is Vincent Van Gogh. He was a stray, so he has the left ear clipped.
There’s this weird conspiracy theory that Vincent Van Gogh might have been Jack the Ripper. They were alive at the same time, and there are all these strange coincidences people point to. When we realized our cat was missing the same ear, it immediately became the joke.
We actually first heard about the theory on a road trip, listening to a true crime podcast. Ever since then, it’s just been this funny running bit in our relationship.
It also sent us down a rabbit hole about the relationship between mental instability and creativity. If you look at Van Gogh’s life, some of his most intense artistic periods occurred when he was clearly struggling mentally. It’s fascinating to think about how those things sometimes intersect.
KL: Are you a big true crime fan?
Joe: Catherine is more into it than I am, but I’m always down to listen.
What I’m really into are detective stories. I’m a huge comic book nerd, and Batman has always been my favorite character. The movies usually focus on the action side, but in the comics, he’s really a detective solving crime mysteries.
There’s this running joke in comic lore that if you give Batman enough prep time, he can defeat anyone in any universe. That idea of preparation always stuck with me.
Put in the work, study the problem, commit to what you’re doing, and you can figure almost anything out. That’s a huge part of my story too.
JOURNEY INTO MUSIC
KL: Getting into your own origin story, where did the name Thought Process come from?
Joe: The name was actually technically given to me.
After graduating from high school, I moved to Penn State with one of my best friends. I wasn’t going to school there, but it was a way to get out of my hometown. My buddy Will, who produces as Akimbo out of Indianapolis, is an incredible musician. We were playing dive bars around State College. I would DJ while he played live guitar.
One night after a set, the owner of the venue came up to us and said something like, “You guys are really locked in up there. I’d love to get inside your heads and know what you’re thinking. The thought process must be crazy.”
Will and I looked at each other immediately like, that’s the name.
We used it while playing those early parties. Later, he moved to Atlanta, I moved to Denver, and when I started producing seriously, I kept the name because it already felt meaningful.
KL: When did music become something you wanted to pursue seriously?
Joe: When I moved to Denver about ten years ago. I basically started from scratch. I started cold emailing every venue and promotion company I could find, just trying to get involved. Then I joined the AEG street team, worked with the Black Box and Submission shows, eventually started stage managing there, and did the Cervantes street team as well.
I basically said yes to anything that helped me be part of the scene.
That’s how I met the people who changed my life. One of the first weeks I lived here I saw Phil (pheel.) opening a set in the Black Box lounge. I messaged him on SoundCloud telling him how much I liked his music and asked if he’d ever be willing to teach me.
He invited me over to his house. I showed up with a notepad and a pencil and he literally taught me what an EQ was.
Those lessons and those friendships shaped everything for me.
Working inside venues also gave me a completely different perspective on the industry. Watching how artists treat venue staff, how shows actually operate behind the scenes, and how crews work together. That experience really defined how I want to move through the industry.
KL: Do you think doing all those smaller gigs and working with all those different teams changed your perspective as an artist?
Joe: A hundred percent. I don’t think I would be where I’m at today, even remotely, if I hadn’t taken those steps. They were the most important steps.
It helped me understand how to make this work in a conscious, ethical, and financial way. Who do you want to be in the industry? A person of integrity who wants to be invited back into spaces, who wants to be collaborated with. All those lessons came from that era.
KL: You see the music scene as an ecosystem. What does that idea mean to you?
Joe: That idea really comes from seeing how interconnected everything is.
A music scene only works if everyone contributes to it. The artists, the promoters, the venue staff, the fans, the people hanging posters, the people running sound. Every piece matters.
If one part of that ecosystem disappears, the whole thing suffers. So for me it’s about being conscious of the role you play in that larger system and trying to contribute in a positive way.
A lot of that mindset comes from the experiences I had growing up around music. If music gave me a safe space when I needed one, then the goal now is to help create that space for other people too.
KL: You’ve mentioned that music became a safe space for you growing up. What did that look like during that time?
Joe: I didn’t have the most traditional upbringing. I moved out of my parents’ house when I was twelve and spent a lot of time living with family members or friends after that.
Around fifteen, I started going to electronic shows in Baltimore with my older brothers. The sense of community there was really powerful. Everyone was kind to each other. The whole PLUR thing people joke about now was actually real back then. When you’re a teenager going through a lot, and you walk into a room where everyone is welcoming and dancing together, it leaves a mark on you.
At the same time, I thought I was going to go into politics because I wanted to help communities. I even worked as a page in the Maryland State Senate during my senior year of high school.
But that experience showed me how messy and discouraging that world can be. Around the same time, I was discovering artists like Pretty Lights and realizing how powerful music could be in bringing people together.
That’s when the shift happened. I realized art was creating the kind of positive impact I had originally hoped politics would.
KL: When did you start producing?
Joe: I started by watching my friend Will produce for years while we lived together. I was honestly too nervous to try it myself.
Then, when I moved to Denver and met Phil (pheel.) and Parker (parkbreezy), they were incredibly generous with sharing knowledge. Technology has always been a bit of an uphill battle for me, but being surrounded by people who were willing to answer questions and teach made a huge difference. I ended up moving in with Phil and Parker not long after arriving in Denver. Being around production constantly pushed me to keep learning.
Denver’s music scene played a huge role in that. Even ten years ago, it felt like this raw creative environment. Getting involved with shows, seeing the Black Box community, and meeting people who were deeply passionate about the music. It made me want to work harder.
My mom is a huge, passionate music lover, and she gave me that trait, but there isn’t really creation or performance in my family. My music came from finding something that gave me emotional power when I was going through darker times.
KL: Do you remember your first show?
Joe: My first real show, yeah.
I used to throw parties on a horse farm that my dad had, and when I’d go visit him after graduation, he let me start throwing barn parties with all the friends from high school.
Then, the first show where I was actually on stage, I got booked opening for Tsuruda at the 8×10 in Baltimore. A friend literally sent me a picture of the flyer a couple of days ago, and it just said “Joe Rich” on it. Government name on the flyer, way before all this.
I was first of like seven on the lineup. It was just a DJ set, but it was so fun and special. My mom came out. It was awesome.
KL: What originally pulled you into electronic music?
Joe: My music taste when I was younger was actually really different. I was into a lot of indie music, psychedelic bands, and instrumental stuff.
Eventually, that led into psychedelic culture and electronic music. A big moment for me was going to a festival in Baltimore called Starscape. The lineup had Skrillex, Excision, and a bunch of other artists who were huge influences at the time.
After that, we went home and just started digging into all the artists from the lineup. That’s when electronic music really clicked for me.
Another moment that stuck with me was hearing “My Girls” by Animal Collective in the show Skins. That song opened the door to psychedelic music for me. When I realized Animal Collective was from Baltimore, it made everything feel closer and more possible.
MISSION BALLROOM DEBUT
KL: Going from house parties and now you’re about to play Mission Ballroom. How does that feel?
Joe: It feels surreal. I’m opening in direct support for a band I’ve been seeing for years, The Floozies, and sharing the stage with other incredible artists like Homemade Spaceship and The Sponges.
I just finished an album I’ve been working on for about a year and a half, so creatively I’m in a really inspired place. I’ve also been able to spend the last few weeks in the studio writing new ideas, which is always the best feeling.
Right now, I’m just trying to stay in that focused bubble. Going to the gym, eating well, staying home, not traveling too much. The visuals are coming together, the lighting director is one of my close friends, and the whole team feels really solid.
Support slots are interesting too because you still give everything you have, but you’re also contributing to someone else’s larger vision. There’s something really special about that.
KL: What would make that night feel successful to you?
Joe: I already feel successful just being asked to play it.
But really, success is if I walk on stage knowing I’ve put in the most work possible to make that next hour the freshest thing I can for the crowd. That’s when I’ll feel it.
I know this is a tough thing to say in the music industry because everything is a business and ticket sales matter, and I care about that deeply too. But I think it’s one fan at a time, one smile at a time. If ten percent of the crowd loves me, I hope it’s more, but even ten percent of a 4,000-cap room is still hundreds of people. That’s incredible.
I try to work for more but aim for less, if that makes sense. Keep the numbers in check. If you’re making even a five percent impact on a massive crowd, that’s still multiple hundred people who might have a better evening because of you. Maybe they will go find your music later. Maybe that gives them a better week. So for me, if I’ve put in the work and people are smiling, dancing, laughing, creating any positivity, then we succeeded.
If you’re dancing, then we did it.
KL: From a fan perspective, it feels like the whole lineup is connected. Do you feel that too?
Joe: Absolutely. When I got presented with the offer and first saw it all, I was really excited. The Sponges are one of my favorite acts to see live. Homemade Spaceship is a legend. The Floozies, I’ve had so much fun seeing them for years. It does feel like everything fits together. I think the vibes are going to be really high. The energy is going to be there. I’m really excited.
NEW ALBUM
KL: You’ve been working toward a new album. What has the creative process looked like?
Joe: This album came together much more naturally than my first one.
I was experimenting with a lot of physical gear this time. Synths, pedalboards, and recording sounds directly instead of relying only on software. I think part of that was a subconscious reaction to how digital everything is becoming, especially with AI tools appearing everywhere.
I found an old Roland Juno at an ARC thrift store for thirty dollars, which is completely insane. It’s one of the most legendary synths ever made. I also picked up a Moog around the same time.
Those instruments ended up being used all over the album and changed how I approached writing. There’s something really satisfying about physically interacting with sound. Turning knobs, shaping tones, recording something imperfect. It brings warmth and humanity into the music.
KL: Are there any tracks on the album that stand out or have special meaning?
Joe: There are a few.
“Think of U” is one of my favorites. It’s a collab with pheel. It’s one of the last songs we wrote together in the house before he moved out.
Another one I’m excited about is “Knockout,” which was inspired by some of the games Catherine and I play together.
Another one called “The Message” was really challenging to write because it has a lot of moving parts and evolving sections. The album really captures a lot of different phases of where I’ve been creatively.
KL: You mentioned games. Do you play a lot?
Joe: Mostly Rocket League. I’m terrible at it, but I love it. It’s the perfect reset when I get stuck in the studio. One of my long-term goals is actually scoring music for games or films. I’d love to get into sound design in that world.
KL: When people listen to this album, what do you hope they take away from it?
Joe: I hope they feel something real. This album is about transformation and reconnecting with creativity. It’s about remembering why we make art in the first place.
If people feel that authenticity when they listen, then the project did what it was supposed to do.
KL: If you could go back and tell early Joe something, what would it be?
Joe: Stay the course.
I can’t believe where I’ve ended up, and I can’t believe the friends I’ve made and the experiences I’ve had the honor of being a part of. I can’t believe I’m going to play my first set at Mission Ballroom in direct support for a band I’ve been seeing for years. I’m really grateful for who I was then and the lessons I learned since. I just wouldn’t want to be anywhere other than where I am right now.
KL: Was there a point where you thought you wouldn’t stay the course?
Joe: Yeah. When I moved out here, I was in a relationship with someone I thought I was going to marry. I kind of put the music passion on the back burner for a second. There was a period when I was working a desk job and was just mentally in the worst place. There were a lot of moments where I could’ve thrown in the towel or not believed in myself.
But I got to a point where I was like, I didn’t really grow up with much, so there’s not a lot to lose. I’m okay with being a broke artist if I’m happy making the art I want to make forever.
Things fell off. Tough relationships didn’t work out. Job situations didn’t work out. But it was all for the best. I’m in the right place, and so is she. I would have been miserable if I had stayed in that office work that made me feel terrible.
Once I worked through that and realized I didn’t need the most money or all those things, I could see I was way happier waking up with something meaningful to focus on.
These choices and commitments led me to the love of my life, Catherine, who has since helped elevate the project to new heights I’d never have been able to accomplish on my own. A life was waiting for me that I am so beyond grateful I stayed true to.
There was definitely stress and fear, and my family was worried for a long time, rightfully so. We didn’t grow up together, so they didn’t fully know who I had become. Watching me in my early artist days probably looked kind of psychotic.
But then getting to invite my mom to Red Rocks when I opened for Opiuo a couple of years ago and having her see it and basically say, “Okay, I trust you now,” that has been one of the most meaningful moments of my life.
It helped me realize something, too. I can do this forever. I was meant to be here.
Stay the course. Keep your head up. Keep working.
DON’T MISS THOUGHT PROCESS AT MISSION BALLROOM
Keep It Moving with Thought Process
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