Innovative indie/rock drummer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: It would have to be Fink's gig in 2012 with the Royal Concertgebouw Orchestra in Amsterdam. I was the drummer as usual, but I provided a link between the orchestra/conductor and my band. We managed to play five of our basic drums/bass/acoustic guitar songs with a 100-piece orchestra and it didn't sound like a total train wreck.

Q: What are you working on at the moment?

A: I'm working with Cameron Saul on a live show, starting to write new Fink tracks, finishing an album for a new singer-songwriter, preparing to record a new track with Cy, and hopefully some other things that I can't tell you about.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Siân Monaghan, an awesome percussionist and drummer. At the risk of her stealing my business, she's got far better hair than me too.

Q: Analog or digital and why?

A: Analog instruments, digital recording. Usually.

Q: What's your 'promise' to your clients?

A: I'm not going to dick you about.

Q: What do you like most about your job?

A: The full fridges at European rock venues.

Q: What questions do customers most commonly ask you? What's your answer?

A: What DAW do I use? Logic.

Q: What's the biggest misconception about what you do?

A: That drums are intolerably loud. It's possible to record great drums really quietly.

Q: What questions do you ask prospective clients?

A: Did you use a click on this recording?

Q: What advice do you have for a customer looking to hire a provider like you?

A: Don't be shy, gimme a try.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Guitar, drumsticks, mic, laptop, capo. You might wonder why not drums... I would always find things to hit.

Q: What was your career path? How long have you been doing this?

A: I've been hitting things since I was four, playing real drums since I was 13, playing in bands since I was 15... and then a very long gap when I wasn't really sure whether I wanted to drum or sing/play guitar. It took me until I was 29 to realise that a drummer was what I was. I started playing with Fink when I was 31... late to the party, but at least I got to face the touring world as a grown-up, rather than an immature 20 year-old who (in all probability) would have gone absolutely nuts and burnt out.

Q: How would you describe your style?

A: Energetic but not raucous, nervous but warm, frantic but listenable, busy but not cluttered.

Q: Which artist would you like to work with and why?

A: I'd love to work with bands that currently don't have a drummer, such as electronic artists: I Break Horses, Billy Nomates... get in the studio with them and see if I can enhance what they do. I'd also love to play with Metronomy if Anna Prior ever feels like a holiday.

Q: Can you share one music production tip?

A: If it sounds good in the room, record it.

Q: What type of music do you usually work on?

A: Singer-songwriter indie from artists that want interesting rhythms.

Q: What's your strongest skill?

A: I make a great sandwich. Other than that, I keep the groove tight and forward focussed. I also respect the other instruments, and most of all the singer. Don't get in the way of the song!

Q: What do you bring to a song?

A: Energy and left turns.

Q: What's your typical work process?

A: Drum like fuck until I get it right. Then edit for ages.

Q: Tell us about your studio setup.

A: It's minimal. A mic on each drum, overheads and a corridor mic picking up the escaped reverb. I'm lucky because the sound in the room is very lively. I use my Natal Cafe Racer kit and a variety of snares, although I almost always end up using the Sonor metal.

Q: What other musicians or music production professionals inspire you?

A: I learned a hell of a lot from producers who've worked with Fink: Billy Bush, Flood, Andy Barlow. The spirit of the song is everything. It's far more important even than the quality of the recording (although in Billy Bush's case he makes damn sure you've got an excellent quality recording along with the more lo-fi approach). Drummer wise, I'm still thoroughly nuts about Stewart Copeland.

Q: Describe the most common type of work you do for your clients.

A: A songwriter comes to me with a finished track that perhaps they've put some percussion on. They suspect it will be better with drums but they're not sure what the drums should be doing. I dive in there and find some hidden rhythm they didn't know existed and it totally changes their perception of the song. Okay, I'm exaggerating, but if I give them 4 drum ideas it's usually the slightly weird one that gets chosen.