Since being a member of Beyonce’s all female touring band, Nikki started her own band called the Nth Power. if she’s not out playing with them, she’s with Dumpstaphunk or Maceo Parker. She talks about how touring has changed her, and what motivates her to continue making music.
Sahir owns and runs two drum companies, Masters of Maple Drums, and Ghost Tech Touring. if he’s not sourcing trees or building drums, he drum teching or staffing tours with tech personnel. He shares some of his experiences in running multiple companies in the music biz.
Drumming in the same band for the last twenty years is a unique situation that most of us drummers haven’t found ourselves in. Many of us started playing in bands with our friends, but have moved on to playing with different artists. Riley and his bandmates in Thrice have found out how to keep four original members happy and working as a team to make music they all love.
Kenny’s tech’d for many of the world’s top drummers, and has developed some essential tuning tricks that will make your life a lot simpler. He shares about what his job as a tech looks like, and some of the most important details in being a great tech.
Before touring with Julia Michaels, brooks spent time not he road with many other great artists like Adam Lambert, Demi Lovato, Skyler Grey, and many more. Understanding your role on each gig, and how it can change from artist to artist is extremely important. Brook tells us how he susses out the feel of an artist, and how to approach the music.
Dylan specializes in drumming in recording real drums for hip-hop, pop, and anything that needs really specific sounds. He walks us through why it took over 2 days to find the perfect sounds for a 6 note loop for Girl On Fire, by Alicia Keys.
In any given week, Jeremy could have shows with 5 different artists. We talk about his preparation approach, and how he manages each situation with care, and how to keep getting hired by prioritizing the artists' needs.
Andrew grew up on a tour bus, travelling with his family band. He started cutting his teeth at 11 when he replaced the drummer. Since, he’s moved to Nashville from northern Canada to tour full time with High Valley, and explains how to legally move to the US as a musician.
Between a knife fight and a basketball injury, Hubert’s lucky to be alive, let alone play drums. He is no stranger to adversity, and talks about taking action, creating forward momentum, ensuring your always better than you were yesterday.
Zack’s shares some of his most memorable moments with Springsteen, Bowie, Gwen Stefani, and how he’s used drumming to really explore other cultures.
Not receiving credit for a song/album you’ve recorded on sucks. Wolf’s been improperly credited (or not-credited) for Grammy-winning albums. He covers all of the details on how he makes sure he receives proper credit now.
Stan has different goals than most drummers, he doesn’t want to tour, he doesn’t want to depend on drumming to pay his bills. He wants drumming to be his creative outlet, and not a burden. He explains why he’s opted out of the touring world, and uses drumming to enrich his life daily.
We always hear the advice telling us to take every gig we get offered. At some point in our career, it becomes really important to know when not to take a gig. Wolf gives us his criteria for taking or not taking gigs.
After spending a decade on tour with Katy Perry as music director and drummer, Adam’s joined the house band for American Idol. He gives us a closer look at how these two gigs challenge in different ways as a drummer
The industry is changing faster than it ever has in the past. To thrive and succeed, it’s become imperative to adapt and reinvent how you play, how you work, and how you run your business. Wolf’s been kicking ass as a drummer, producer, and drum programmer for decades, and shares how he’s been in a constant state of change.
Jimmy is the OG of drum programming and had a front seat to the transition that took place as drum programming began to take over modern record productions. He shares what it was like, why it happened, and where it’s at now.
Working remotely as a studio musician has become increasingly popular. Wolf has done a lot of both and breaks down the pro’s and con’s of each arrangement, and why he prefers one over the other.
Stanley’s got pocket, and he shares about how he develops it, what he listens to on stage, how he interacts with percussionists, and what records he thinks help develop great feel.
We all fall into a trap where we look up to our favourite drummers and make an attempt to emulate what they do because if it works for them, it must work for me… Josh shares his insights on how to discern any incoming advice.
Dave Debunks rumours about the body mechanics of a drummer, and about practice.
Joe was on the brink of finding a new career, when he started building a career with Ellie Goulding. Assuming the role of Creative Director for earlier tours, and now working endlessly as a musical director to develop a new approach, rather than playing along to a wall of tracks for an arena show, finding ways to create the tracks live.
Despite being a hired gun, Ben explains how he and the whole band act as a group who are all mutually invested in Rag N Bone Man's success.
Charles explains the difference between drumming for Ed Sheeran, Gaga, Kayne, and Ayo.
With a decade of arena tours under his belt with Carrie Underwood, Garrett’s been through it all and gives us 5 specific experiences where he’s learned his lesson the hard way on stage, and how he avoids it for the next time.