Justin Cary, the bassist who provided the steady, melodic low end for Sixpence None the Richer during their most commercially successful era, died on June 18, 2026. He was 50 years old. Cary’s death marks the passing of a musician whose understated playing style helped anchor some of the most ubiquitous pop-rock songs of the late 1990s and early 2000s. The news of his passing was confirmed by representatives for the band.

For a generation of listeners, Cary’s bass lines are inextricably linked to memories of late-night radio, teen movie soundtracks, and the fading days of the CD era. He was the rhythmic foundation beneath Leigh Nash’s airy vocals and Matt Slocum’s jangly guitar chords. His work was never flashy. It was, instead, exactly what the songs required.

The story of Sixpence None the Richer is often told through the lens of their breakout single, “Kiss Me.” But the band’s sound was a collective effort. Cary’s contribution was essential to their transition from a niche Christian alternative act to a global pop phenomenon.

The Early Years and the Texas Scene

Before the platinum records and the international tours, Sixpence None the Richer was a band finding its footing in the Texas music scene. The group formed in New Braunfels, Texas, in the early 1990s. The core duo of Leigh Nash (vocals) and Matt Slocum (guitar/songwriter) established the band’s identity early on. They drew inspiration from authors like C.S. Lewis, from whose book Mere Christianity the band took its name.

The early iterations of the band saw a revolving door of musicians. They released their debut album, The Fatherless and the Widow, in 1994 on R.E.X. Music. This was followed by This Beautiful Mess in 1995. These albums established them within the Christian alternative rock subculture. They toured relentlessly, building a dedicated, if relatively small, fanbase. The sound was darker, more introspective, and heavily influenced by bands like The Sundays and 10,000 Maniacs.

It was during this period of transition and growth that Justin Cary entered the picture. The band needed a solid rhythm section to support Slocum’s increasingly complex arrangements. Cary brought a sense of stability and musicality to the bass position. His playing was rooted in a deep understanding of melody, allowing him to weave bass lines that complemented the song rather than simply mirroring the root notes of the guitar chords.

The Breakthrough: 1997 and “Kiss Me”

The defining moment for Sixpence None the Richer, and for Cary’s career, came with the release of their self-titled album in 1997. The album was released on Squint Entertainment, a label founded by Steve Taylor. The recording process was marked by a deliberate shift toward a more polished, accessible pop sound. The band worked with producer Paul Fox, known for his work with XTC and 10,000 Maniacs.

Cary’s bass work on the album is a study in restraint and effectiveness. He understood the space needed for Nash’s vocals to breathe. On tracks like “We Have Forgotten” and “Anything,” his playing provides a warm, driving undercurrent.

Then came “Kiss Me.” The song was an anomaly. It was a simple, acoustic-driven pop song that stood in stark contrast to the heavier grunge and post-grunge sounds dominating the airwaves at the time. Released as a single in 1998, it slowly climbed the charts. Its inclusion in the 1999 teen comedy She’s All That and the television drama Dawson’s Creek propelled it into the stratosphere.

“Kiss Me” reached No. 2 on the Billboard Hot 100. It topped charts around the world. It earned a Grammy nomination for Best Pop Performance by a Duo or Group with Vocals. Beneath the acoustic strumming and the memorable vocal melody, Cary’s bass line is the quiet engine driving the song forward. It is simple, precise, and entirely indispensable.

The Follow-Up and the Cover Songs

The success of “Kiss Me” thrust Sixpence None the Richer into the intense glare of the mainstream music industry. They were no longer an indie band playing church basements; they were playing arenas and appearing on late-night television. Cary navigated this transition with the same steady presence he brought to his instrument.

The band followed up the success of “Kiss Me” with a cover of The La’s “There She Goes.” Once again, the song was a massive hit. Cary’s bass playing on the track is faithful to the original while adding a slightly warmer, more rounded tone. The song further solidified the band’s reputation as purveyors of perfectly crafted jangle-pop.

In 2002, the band released Divine Discontent. The album faced numerous delays due to record label restructuring. Despite the behind-the-scenes turmoil, the album produced another significant hit: a cover of the Crowded House classic “Don’t Dream It’s Over.” Cary’s bass work on this track is particularly notable. He navigates the song’s shifting dynamics with grace, providing a solid foundation for the sweeping string arrangements and Nash’s emotive vocal performance.

Divine Discontent showcased a band that had matured musically. The arrangements were more complex, the production more lush. Cary’s playing evolved alongside the band’s sound. He incorporated more intricate melodic fills and experimented with different tones, always serving the needs of the song.

The Hiatus and Beyond

The pressures of the music industry and the shifting landscape of pop radio eventually took their toll. Sixpence None the Richer announced a hiatus in 2004. The members pursued individual projects. Leigh Nash released solo albums. Matt Slocum formed a new band, The Astronaut Pushers.

Cary, characteristically, stepped away from the spotlight. He remained involved in music, playing in various capacities and working behind the scenes. He was known among his peers as a consummate professional, a musician who could be relied upon to deliver exactly what was needed, without ego or fuss.

Sixpence None the Richer reunited in 2007 and released an EP, My Dear Machine, in 2008. They followed this with a full-length album, Lost in Transition, in 2012. The album was a return to form, featuring the signature blend of chiming guitars and ethereal vocals that had defined their earlier work. Cary was part of the reunion, bringing his steady hand back to the bass fretboard.

The band continued to tour intermittently in the years that followed. They played festivals and intimate venues, reconnecting with fans who had grown up listening to their music. Cary’s presence on stage was a comforting reminder of the band’s enduring legacy.

The Legacy of the Low End

In the narrative of rock and pop music, bass players are often relegated to the background. They are the unsung heroes, providing the structural integrity that allows the singers and guitarists to shine. Justin Cary embodied this role perfectly.

His playing was never about showing off. It was about serving the song. He understood that a well-placed whole note could be just as effective as a flurry of sixteenth notes. He knew how to lock in with the drummer to create a groove that was felt as much as it was heard.

The music of Sixpence None the Richer occupies a specific place in the cultural memory of the late 1990s. It is music that evokes a sense of innocence, of late-night drives and mixtapes. Justin Cary helped build the foundation of that sound. His bass lines are woven into the fabric of those memories.

His death is a loss to the music community. It is a reminder of the fleeting nature of fame and the enduring power of a well-crafted song. He leaves behind a catalog of music that will continue to be discovered and appreciated by new generations of listeners.

The chords remain. The melody remains. The rhythm remains.

Cary.