Sunday, 19 September 2021

 

How have you managed during the Covid-19 pandemic?


I have tried to make the best of it. Progressed some writing and recording for the next release whether that’s Theme Tune Boy or something else. But the week before the world shut down I'd had a small cyst removed from an index finger joint and it wasn't entirely successful meaning I'd have to go back for another go when the world re-opened. So lockdown rolls on into late summer and I went for a swim in the Headrace Canal near my home just outside Limerick, near Ardnacrusha Power Station in Co Clare.. Next thing I know I've a gangrenous looking septic infection that's right the way into my bones and I'm in hospital in Cork hooked up to IV antibiotics and they're slicing dead bits off the finger. It was insane!. A year later, I still have the finger but it's still a bit of a zombie with a mind of its own. I got the ability to hold a drumstick back handy enough but guitar and bass are going to prove a longer road. So I did the only thing that seemed logical to me -I wrote a song about it. More an essay really. Somewhere between Alice's Restaurant, Alien and The Walking Dead. https://www.youtube.com/watch?v=EMHKyG0Udn0


When did you start drumming?

I started building my own practice kit at home from plastic tubs when I was 14. The first time I got to use an actual drumkit was the night before a live performance on the back of a truck in Limerick city centre. Soon after, my dad backed me with money. I'm sure he couldn't spare to get me a tiny Striker beginners set. He also gave me his drumsticks and céili block -he and his family were quite musical and involved in Ceoltas. I made shit of his sticks and céili block in no time -pretty much using it as a cowbell. Luckily I did a bit of woodwork in art college and was able to do a tidy restoration on the block at least.

 

How would you describe your drumming style?

Probably for others to say, but I'd guess they might say, historically at least, I'm in the Vera Duckworth range when it comes to subtlety and nuance. Though in more recent years I think I've developed something of a gearbox I can shift through. I did drums and percussion with my friend David Irwins, Tom Waits -the early years Tribute some years back which put it up to me a bit to consider creative alternatives to 'leathering' everything. I also play club gigs with a DJ and they can be long shows so it's better to start with a lighter palette and build up.
But generally I'm probably regarded as an old school heavy hitter and I think there's also a strong enough association with using twin kicks as well which is funny as I can't blast beat AT ALL. I mostly play them as Keith Moon did -knocking out a string of 8s.  It helps that being a songwriter I can build in bits for the couple of modest tricks I can do. There's an urban myth in Limerick (that I did nothing to reign in of course) according to which I was "banned" from playing drums at school masses because I went full-on 'Won't Get Fooled Again' on closing hymn 'Walk In the Light'. Also have a rep for having a "wide" set up with one drummer colleague remarking "your hi-hats are in a different time zone to your china but fair play you get around them". It's one of my favourite compliments along with someone messaging me to say "jaysis Niall, you're handy as a small pot on them drums" 

Who inspired you to take up drums?

I suppose the bands I was listening to in my early teens in the mid 80s. I think Vom Ritchie from Doctor & The Medics was the first person I used listen to that had me distinctly going "I wanna play drums" as opposed to any other instrument. I think I imagined it'd be easier than guitar the same way some people think bass will be easier coz it's only got four strings. But I started tapping along with my hands or improvised sticks to things like The Cult 12"s of Rain and She Sells Sanctuary. Those 12"s were very useful in terms of breaking the whole thing down into manageable chunks. Not just drumming either -guitar, bass, composition itself. 


Who are your favourite musicians?  

As well as the aforementioned Vom I suppose in my earlier days playing in my teens it would've been Keith Moon for the sheer energy as well as Mitch Mitchell and Ian Paice. 

As I got older I'd have gotten into the metallers like Philthy Taylor, then Lars Ulrich, Charlie Benante, Dave Lombardo, Igor Cavalera. A huge one in later teens for me would have been Fyfe Ewing from Therapy?. Fyfe has the power of metal, the nihilism of punk and the groove of dance. He brought it all to the party.

 

What are your favourite songs / albums?

Ooh I've lots of those. Some not all that 'drummy'. Many of my favourite albums are by Half Man Half Biscuit 'Achtung Bono' and 'Urge For Offal' just for starters. Other albums that get spins uninterrupted are Bizarro by The Wedding Present, London 0 Hull 4 by The Housemartins, Mellon Collie by Smashing Pumpkins, Master of Puppets by Metallica, The It Girl by Sleeper, Murder Ballads by Nick Cave and and the absolute timeless belter that is Exile On Coldharbour Lane by Alabama 3.

As for individual songs - I'll never be able to play along to Slayers 'Angel of Death' properly but I like to try. I'm getting better at Metallicas 'Battery'. I love to play along to dance music -mainly big beat stuff like Fatboy, Prodigy ,Chemical Bros and 90's techno as well. Myself and Eric (The Hitchers guitarist) gig together in the guise of Decks&Drums where he spins the tunes and I leather away. We play the coolest of the cool to cheesiest of the cheese. It's too much fun and people seem to really enjoy it.


What drum gear do you use?

I've had the same kit since I rescued it out of a couple of inches of water in a coal bunker in 1988 though these days it's just the shellpack itself I use. It's a late 60's Japanese made student kit they used to make under the name Morris. I did a bit of research and found the shells are made of Indonesian mahogany ply -so they're pretty heavy. I'd to do a little restoration on some of the shells. When younger I always hoped to trade up eventually and I used be obsessed with Premier Resonators as a teenager. I had my midlife crisis in my 30's where I began obsessing over obtaining Ludwig Vistalites despite the fact I was drumming relatively rarely at that time.
Eventually I realised me and the Morris' are like an old age couple at this stage. I can't imagine playing anything else and it'd be vulgar to the point of treacherous to replace them now.  Its shells which had a damaged but beautiful mother of pearl wrap have long since been crudely covered in the posters and smash hits song lyrics off teenage Nialls bedroom wall in a homage of sorts to Keith Moons Pictures of Lily kit. I used to use two kicks but the second bass drum was always the first thing thrown out of the van when we got stuck for space so my band mates indelicately manoeuvred me to a twin kick pedal back in the mid 90's and I never looked back. My current Double-kick pedal is a Hayman. The rest of the kit is a 22" kick, 12" and/or 13" toms and a 16" floor. I use a 14" x 5" blue-olive badge Ludwig Supraphonic snare and I swear I wouldn't swap it for a Black Beauty.  

 

The hardware has been gradually replaced by Pearl stuff over the years. I know they make fabulous drums that record beautifully yet I've always found Pearl drums just not to my taste. But their hardware I've always found excellent in cost/quality terms. I do actually have an 18" Pearl floor tom which gets used as often as a kick with a jungle jig for dance gigs. But the Morris', which are skinned with a mix of Ambassadors, Diplomats and Emperors plus a pinstripe on the kick with Remo muffles on both ends to tighten the punch, have a superb and somewhat 'lively' sound that is very much of its era -sounds great with a 70s Glam Rock gig I've sat in on. It also puts that fear of god face on soundmen which is absolute gravy to me. I like to spoof them some pseudo-scientific drummer bullshit when they express concern and offer gaffa tape like "Oh no, no, it's imperative they're never tuned -but just left on the stage to 'room up' like a nice beaujolais".

Pretty much all my cymbals are Paiste which I presume your readers know is pronounced Pie-Stee and neither Paste, Pash-tee nor Páistí. I used have an endorsement deal with Paiste back in The Hitchers days but lost touch with 'my guy' there who I think moved on to C&C. I wish I'd taken further advantage of it to obtain some smaller and faster crashes. But I used get 18" heavy crashes -absolute bin lids because a lot of the time I was competing with a wall of Marshall Amps in semi-amplified/smallish PA setups. Among my crashes I've a vintage 18" Giant Beat crash/ride I picked up from an old jazzer. I rarely use it for rock gigs but for mellower stuff you can crash it, ride it, swish it. It's super. 

The only non-Paiste cymbal I own is a a 14" Meinl wafer thin crash a friend quite generously gave me that I use for the club gigs. It cuts through everything, super-fast decay. In-out. 
So my cymbal set up for The Hitchers and any other live rock gigs would be 2002(top)/Rude (bottom) combo 14" hats, 12" Signature Flanger Bell (tiny bin lid that cuts through EVERYTHING! Long decay mind. As Nigel Tufnel said you can go for a bite and that'll still be going) and to avoid a forest of cymbal stands that shares a boom with a 16" 900 dark Crash. Similarly sharing a boom over the other side are an 18" 2002 Crash and an 18" Rude China the latter of which I got 2nd hand for IR£80 in 1993 and it's still hitting me back. I alternate between a 20" Signature or 2002 Heavy Ride though I sometimes use both -more overhanging than stacked so I can play 16ths jiggling a stick up and down between them. 

 

What advice would you give someone wanting to take up drumming?


If you can dance you can drum, and I mean if you can dance at all as in sway in time to a piece of music -then you can drum. Drumming is articulated dancing is all. 
Also -protect your hearing from day one. There's nothing rock'n'roll about tinnitus. 


What advice would you give someone starting out in music?

 I used give a standard smart-arsed answer to this along the lines of "don't take any advice from beaten dockets like Niall Quinn".  But then I heard a story about the second world war that gave me pause for thought. Its a story of incomplete datatsets really. The allies were concerned about the number of planes they were losing on raids over Europe. Unsustainable losses. So trying to enhance survival chances they looked at the damage sustained by the planes that made it back and made a chart or diagram that mapped out the most common areas of damage to the planes. They were about to embark of a program of adding heavy armor plating to those locations when someone cried 'STOP'.-having realised that's where the planes that survived were hit. That means it must be possible to survive being hit in those locations and inversely it must be impossible (or at least unlikely) to survive being hit in the places those planes HAD NOT taken damage. They added armor to the locations showing little damage in their charts. Survival rates shot up. So the planes and crews that never made it back still provided data that saved others. So I guess that makes me one of the planes that never made it home and therefore I may actually have useful data to contribute. In that spirit and with the caveat that I'm in my late 40's, can't work Instagram and the landscape of the music business has changed beyond recognition to when I started out here goes...


- Be more generous and open than I was with the ideas, suggestions and creative inputs of your bandmates. They are your greatest asset and are as invested in your success as you are.

-Turn up on time.

 

-In any and every contract you're offered don't presume the independent legal advice you will of course be getting will spot everything. Have each band member who will be signing the contract go through it counting and highlighting every instance of the word ALL. Now each of you write out what you understand the sentences containing the word ALL to mean. Where differences of interpretation occur seek clarification until you have consensus. With consensus reached -you now have your battleground. You'll want as many of those "ALL"s as possible changed to something like "certain specified" or "certain defined". 


-Work as hard as you can, play as hard as you like and set reasonable boundaries between the two. It took a long time, far too long, for the penny to drop with me that "heh ...the barman isn't pissed, the girl on the door isn't pissed, neither are security. So -why am I pissed?" Now when your work is done -drink paint for all I care. There's no Just Say No lectures from me beyond suggesting you make informed choices on what you put in your body. But respect the fact you've chosen to work in an industry that floats on alcohol. 
And beyond that I'm afraid I really haven't a clue. Noel Redding once said "Eat well, sleep well and try not to get your dick caught in your zip". I think that advice has held up well. 

 

 


What is the music scene like in Limerick at the moment?


As ever It's very, very good. I'm not one of these people who imagines golden ages for bands or music or whatever. Limerick has always had loads of creative people doing exciting stuff in any and every genre. What can ebb like the tide a bit is opportunities for those creatives to show what they can do and develop -be that access to venues putting on gigs or recording facilities or even rehearsal spaces -the latter of which ironically there are often more of in economic downturns. But a lot of those boxes seem to be ticked at the moment and hopefully more so as the world opens up a bit. Limerick has always had it covered with the indie-guitar based thing and singer/songwriters but there's a thriving hip-hop scene now too that's given rise to the Make a Move festival and sure the whole world has heard of Denise Chaila by now. And metal has always been chugging away in the background thriving just fine in the dark -and Siege of Limerick which happens twice a year when the clocks change has become a cultural jewel in the crown. 

 

What’s next on the horizon?


Well I'm still writing and recording and getting over damage to the left hand. 2022 will see the 25th anniversary Vinyl re-issue of The Hitchers first album It's All Fun and Games Til Someone Loses An Eye so I'm looking forward to doing some gigs around that.

Saturday, 2 January 2021

 

How did ‘The Clockworks’ get started?

Well myself, James McGregor and Sean Connelly, (singer and guitarist in the band), we all went to the same Secondary School. Sean and I were in the same year. I knew him first and we were friends since 1st year. James had been writing music for, I don’t even know how long, but he had started off writing poems and then worked on turning them into songs so eventually he and Sean started playing music together. Sean had been in a metal band around that time but he was playing drums so he decided to take up guitar for the band. Then they started writing songs and they needed a drummer. Sean asked me purely because I had shown a bit of interest in playing drums so when I started going on 16/17 they began asking me to go and practice with them. Tom who’s our bass player joined later whilst in Galway, studying in N.U.I.G.

Is it true that The Clockworks are signed to Alan McGee’s label, Creation23?

We are yeah which is absolutely mental! When we were living in Galway, we used to watch Oasis documentaries and he would be popping up and we read his book and everything. He was just this figure in music and he was always respected and admired but we never thought we would be signed to him. Sean had seen an interview with Alan in the NME and the interviewer asked him “what’s the best way to get in touch with you?” and he said “just send me a message on Instagram”. At this stage we had probably sent him about 50 messages on different social media channels but Sean sent him an Instagram message and he heard our song and he liked it. I get a message saying he was going to come and see us in the rehearsal room so get over here now. So he came to the rehearsal room and we didn’t have a gig lined up since we were just there and we thought he would stay for a song or two but he stayed for a whole set and for another hour or two after that. Before he left he said there was no waiting around and he wanted us.

Who are the drummers that have influenced and inspired you the most?

Sean was probably my first influence because as I said he played in a metal band and I’d remember he would bring his drums anytime they did music practice. He would play them all through lunchtime. I remember I used to be more than happy spending my lunchtimes watching him play. That’s what initially got me interested in playing the drums. It just seemed so cool and fun. After I started playing in the band I got into other bands. I started getting into Matt Helders, from the Arctic Monkeys. I just remember listening to every album especially the first two from a drumming perspective. I just thought there was something so gritty but you could still dance to them.  I always liked Matt Tong, drummer with Bloc Party. He was their original drummer and again just the same thing, they always picked the right beat. It’s always just right, does exactly what feels right and I think that’s the most important thing. An Irish drummer that influenced me was Micheál Quinn, Meltybrains? and Dermot Kennedy. I never got to see Meltybrains? live but I just remember watching whatever videos they had online because I just thought he was a fantastic drummer.

What are you currently listening to?

It’s a weird time because just out of boredom I’m listening to anything and everything. One of the most recent that I’ve really liked is Michael Kiwanuka. Probably one of my favourite albums ever is A Grand Don’t Come for Free by The Streets. I just really love, not necessarily the concept but I just thought the way he did that album was so different. Each song has its own story but yet all songs together are the full story and  you don’t need to listen to it all to understand it or appreciate it but if you do it makes it that bit better. I’ve always loved that one. I think that the way we operate and what they did on that album is that the music should tell the story along with the lyrics. It should add to it. We are writing music for the score of a film. What story we are trying to tell for a particular song is how we approach it.


What’s next on the horizon?

Hopefully get back gigging towards the end of summer but that depends on Covid-19. What we are definitely going to do is to keep recording and releasing music. We have a song already recorded that we are hoping to release in February 2021. We are just going to keep releasing singles for the time being and then as soon as gigs start back up we will be ready to go. We are not going to waste a second!  We have been in London coming up on 2 years now and that’s where we spend most of our days,

What advice would you give someone starting out in music?

That’s a good one. I would say try getting around with other people and when you can try just gig as much as possible. I was thrown in at the deep end a bit in terms of learning how to play drums. While I was playing gigs and when you are on stage and you make a mistake, you make sure you don’t make it twice because you don’t want to be up there in a room full of people not being able to play a song and that’s how I kind of learned. I think you learn quicker if you throw yourself in at the deep end and I think it’s important to play with other musicians because again if you play by yourself in a room you’re just playing a chord or 2 but if you bring other musicians along to play in a room with you, you’d be surprised at how different it is because you have to kind of feel it with 3 or 4 other people. I think it’s important to play music with other people.

Your recent singles “Can I speak to a Manager?” and “Enough is Never Enough” got huge coverage. You must have been delighted with that response!

Both of them got a great response and a lot of radio plays here in Ireland which we love. Just because we moved to London doesn’t mean we want to stop making moves here in Ireland. We still want to make an impression here. Dan Hegarty (Radio Presenter) has been great to us and also Annie Mac (BBC Radio).  We’re delighted with it because when you choose a song to release, you obviously choose the one that you think is the best at the time. You never know how it’s going to be received. We’re very lucky and grateful for how people received it.

Covid-19 has had such a huge impact on everyone. How have you managed to cope?

We definitely took things for granted but to be honest we have been lucky as we all live in the same house so we have still been able to practice and record in the studio just because we haven’t been putting anyone at risk by doing those things. That’s been very lucky for us. I think the biggest thing is how much we miss doing gigs which isn’t that surprising I guess but I’ve really missed being able to go to a venue and just even the small things. I’ve been
missing every part of it.

 

Friday, 28 August 2020

 

How does it feel to be releasing the One Morning in August debut album?

It's an absolutely brilliant, great feeling. John and I have played covers for years at sessions and with a collective of musician friends of ours at gigs, but to finally have our own original music, is a great feeling. When I was young, learning the drums, I wanted to get into a recording studio and be part of creating music, writing your own drum pieces, playing it, recording it and listening back to yourself and what you've made. I can't wait till Friday!


Apart from music, what else are you interested in? 


Lots of things, I'd give everything a try. Mainly into running and fitness at the moment. I cover about 40 kms a week on roads and trails and on the spin bike. Big rugby fan, I like going to Leinster and Ireland matches, motor racing, photography, videography, aviation. When it comes to TV, I love all sorts of documentaries.


How would you describe your drumming style?


I think it's sort of funk based, when learning to play I used to borrow cd's from Christy Stapleton. There was everything in there from Art Blakey the jazz drummer to Simply Red, Led Zeppelin and lots more. I like to think that stuff influenced me. I think my style mostly resembles Chad Smith from the Red Hot Chilli Peppers, that mix of energetic funky rock. When it comes to our stuff, I try to create pieces that fit the song and the tone and feel of it.  


Who are your favourite musicians?


So many, Jimi Hendrix, Thom Yorke, Noel Gallagher, Pixies, Zeppelin. My favourite drummers would have to be Dave Grohl, Neil Peart (Rush), Danny Carey (Tool), John Bonham.


What are your favourite songs / albums?

Very tough as there's so many but here's a flavour....

Radiohead - The Bends

Oasis - Whats the story morning glory

REM - Automatic for the people

Smashing Pumpkins - Mellon Collie and the Infinite Sadness

Pixies - Surfer Rosa

Queens of the Stone Age - Songs for the Deaf


What's next on the horizon for One Morning in August?


Hopefully playing live gigs but that is way off yet with Covid-19 and all. We'll also get cracking on writing some new music; there are lots of ideas for songs all ready to go.


How have you been coping during the COVID-19 pandemic?


I found it very tough initially; I have a boy in school and a girl in a creche so they were at home with me for three months while I worked from home. The lack of social interaction was tough and thankfully I kept up the exercise regime to help keep the head right. Not knowing what's coming down the tracks is tough on people.

Sunday, 9 August 2020

 

How does it feel to be releasing new music with Power of Dreams?


It feels great! It feels like it’s supposed to be happening. It's not forced or unwarranted and that makes the record (Ausländer) quite special.  Hearing the record now as a full body of work makes me very happy and I think it will resonate with a lot of people.

 

How would you describe your drumming style?

 

I'm a rock drummer by nature, but my style has evolved over the years. Since moving to the US 20 years ago, I've played with punk bands/indie pop bands and electronic bands. Playing different styles of music is very beneficial to any drummer and has helped my drumming a great deal.

 

How have you been coping during the COVID-19 pandemic?

 

I've been coping pretty well actually. I live in Phoenix Arizona, where unfortunately the state has handled it rather badly. And as a result, we are currently in the middle of a second wave. There are still major restrictions on doing most normal activities. I've been very busy thankfully throughout with the recording of the new PODS album; spending time with my daughter Violet, also with the good fortune of experiencing large growth with my e-commerce clothing brand Baby Teith. I'm an optimist and while this is all very strange and disruptive, I see the light at the end of the tunnel.

 

Who are your favourite musicians?

 

Prince is my favourite all round musician, rest his soul.  

 

Drummers : Ringo Starr (The Beatles) Stuart Copeland (The Police) Thomas Hedlund (Phoenix) Larry Mullen Jr (U2) Josh Freese (NIN/The Vandals) 

 

Guitar: Johnny Marr (The Smiths/The The)

 

Bass: Andy Rourke (The Smiths) Kim Deal (The Pixies)

 

Synths: Gary Numan, Trent Reznor (NIN)

 

 

What are your favourite albums?

 

Radiohead - The Bends

The Beatles - Abbey Road

The Smiths - The Queen is Dead

Prince - Sign o’ the Times

The Pogues - Rum Sodomy and the Lash

The Blue Nile -  A Walk Across the Rooftops

Kate Bush - Hounds of Love

Pixies - Doolittle

 

 

What drum set up do you use? 

 

For Ausländer I used a 1968 Ludwig super classic (Pictured) a truly beautiful sounding drum set - I love vintage drums and have mainly played 60's Ludwig sets here in the US over the past 20 years. 

 

Drums - Kick 22", Snare 14" Ludwig Acrolite, 12 Rack Tom, 16" Floor  

 

Cymbals - Zildjian 18" A Custom Crash, Zildjian  14" A Custom Hi-Hats, Zildjian 20" A Custom Ride

 

 

What advice would you give someone embarking on a career in music?

 

Don't be afraid of your own power. Listen to good advice when it's available. Be true to yourself and stay true to your vision. Have fun and when it's not fun, take a break and do something else.

 

 

Pic with Keith On drums photo by Ana Baraza and the other is by Killian Mckeown

Saturday, 1 August 2020


What type of drum kit do you use?

I play a DW set predominantly, with an all maple Gretsch snare with wooden hoops. Zildjian K Constantinople ride and hi hats and various bits of bells and shells, laid around the kit to keep me entertained. 

Who are your favourite players?

There are so many to mention, but probably the drummers that have had the biggest influence on my sound would be Brian Blade, Mark Guiliana, Marcus Gilmore, Roy Haynes, Stewart Copeland and Danny Carey. Tigran Hamasyan is a jazz pianist that has probably left the biggest mark on how I approach rhythm. 

What are your favourite songs / albums?

 Again, it's hard for me to pick a few but some that I always come back to are Jeff Buckley: 'Grace', Pearl Jam: 'Vitalogy', Tigran Hamasyan: 'Mockroot' and 'Shadow Theatre', John Coltrane: 'A Love Supreme', Charles Mingus: 'Ah Um' and Bon Iver's self titled album.


Can you tell us some of the artists that you have played / recorded with?

Basciville, Colm Mac Con Iomaire, Ailbhe Reddy, Bill Whelan, The Man Whom, Sacred Animals and The Ocelots. 

What advice would you give someone wanting to play drums?

Listen to as much as you can, and whenever you hear something you like try to learn how to play it. Also, listen to what the other instruments are playing and make sure you understand the context of everything you're playing. 

How did you cope during the COVID-19 lockdown?

I was lucky that I felt inspired to practice a lot during the lockdown. I think this was probably due to the slew of videos of amazing drummers shredding in their homes. I'm very grateful to have my own space where I can focus on improving my playing, and to keep me distracted from the apocalypse. 

Sunday, 19 July 2020


What type of drum kit do you use?

I have a few drum kits: a Yamaha, a Canopus and I practice on a '67 Ludwig white pearl marine in sizes 22 x 18, 12x9, 13x9, 16x16 with a Ludwig supraphonic snare 5x14 that I bought in New York with Zildjian A's cymbals, 14" hi-hats and 18" and 21".

Who are your favourite players?

When I started out on drums my favourite players were from the bands I was listening to, like Dennis Davis (Bowie), Michael Shrieve (Santana), Ginger Baker (Cream), Phil Thompson (Roxy Music), James Gadson (Bill Withers), Phil Collins (Genesis), and Chris Frantz (Talking Heads). Growing up some of the Irish players I listened to were Fran Breen, John Wadham, Jerry Fehily and Darren Beckett. 

Then, when I started to really study drums and take playing more seriously, I learned so much from drummers like Kenny Clarke, Papa Joe Jones, Max Roach, Elvin Jones, Tony Williams to name a few innovators on the drum kit who continue to inspire me. My first teacher in New York was Eddie Locke, a phenomenal player and mentor, who taught me as much about the tradition of Jazz as playing the instrument itself. Of course, there are some incredible current drummers--Billy Hart, Marcus Gilmore, Dan Weiss and Tyshawn Sorey--who are doing really exciting things and exploring new boundaries on the drums.

What are your favourite albums / songs?

I remember stocking shelves in a supermarket as a kid and they would always play Paul Brady's "Nothing But The Same Old Story." I loved that song and the album Hard Station. Jimi Hendrix was a big inspiration, especially Band Of GypsysKind Of Blue was my gateway into the world of Jazz so of course Jimmy Cobb was a big influence. I got to see him and hear him play many times in NYC when I lived there, which was a dream come true. Any John Coltrane album; Elvin Jones was another huge inspiration. I got to hang out with him a couple of times, once at a drum workshop in Dublin before I moved to NYC. When he asked if I knew anyone there, and I said "not really," he turned to me and replied, "well, you do now." That gave me a lot of confidence to make the leap.

Can you tell us some of the artists that you have played / recorded with?

I left school when I was 16 with the life of a drummer in my mind and started playing with a local band in Cork called The Dancing Bastards from Hell, affectionately known as just "The Bastards." It was a conglomeration of well known musicians in Cork at the time. I only really got the gig because they had basically run off every other drummer in town with a lot of onstage slagging. That was as much a part of the Cork scene as it was how you played. It was a tough apprenticeship in those days but fun. I think they left me alone because there wasn't any other drummer left and I was so young. The band was banned from Trinity College and the entire town of Mitchelstown amongst many other claims to fame. 

Then, of course, I started to play with the Emperors Of Ice cream, Bass Odyssey and a host of other local bands at that time. Whenever the great Louis Stewart was in town we played together. He was another game changer for me as a young drummer. Here was this world class guitar player who encouraged me and was supportive of my playing. I also got to record with Bic Runga and Nick Seymour (Crowded House) before I decided to try playing in Berlin for a year and then NYC for 18 years. In New York I had an opportunity to play with Saul Rubin, Greg Glassman, Stacy Dillard, Asaf Yuria, Pasquale Grasso, Alexi David and Dida Pelled, among many other bands. I recently moved to Amsterdam and am enjoying getting to know the scene here.

How does it feel to have The Emperor of Ice cream back together again?
I'm really enjoying getting back together with The Emperors. Graham Finn--the Emperor's guitar player--is also in NYC and we'd try to play together whenever we could, and it's been great to get back working with Eddie Butt, Haggis and Eddie Kiely, our manager, again. It all happened very organically. Starting with a nostalgic newspaper article in the Irish Examiner; the interest in the band and enjoyment of the singles we've released so far has given us a wonderful opportunity to finish an album we started 25 years ago.

The long awaited debut album from Emperor of Ice cream is about to be released. Can you tell us what can we expect?

We're proud of this album and want it to cement our time together as a band--where we grew up, the time we shared--and also who we have become as musicians and people since then. It's been exciting to see our two singles, "Lambent Eyes" and "Everyone Looks So Fine," do so well in Ireland and it's been fun re-recording a number of these songs from our locations around the world. It's all pretty remarkable considering we popped up again after all these years and can't play live currently with COVID-19 to support the album.

Hopefully next year we'll have a chance to show the folks who have supported us that we can still play our asses off and give people a great night out, which we could all do with right now!!!

How did you cope during the COVID-19 lockdown?  

Obviously I miss playing live with other musicians but I try to be positive and use this time for personal practice on the drums. I have a ton of stuff I'm working on--like four-way coordination and melodic playing on the kit. And, of course, we're putting the Emperor's album together and promoting it online and with social media. 

Between the album, practice, listening to music and learning more on the piano there's no shortage of things to do during lockdown. But, you know, it's also important to take it easy on the expectations we have of ourselves right now and focus on finding the joy in drumming and music, however we can. 


Saturday, 11 July 2020


Rob Barrett is a well respected drummer, educator and Top Barber from Dublin. Having started his drumming career, as a marching band drummer at the tender age of 9, he then went on to become one of Ireland’s most accomplished pipe band drummers with the St. Laurence O’Toole pipe band, under the tutelage of the brilliant Stephen Creighton. Rob has won almost every major honour, including several World Drumming Championships’. When it comes to kit drumming, Rob has been a well respected player for many years.Rob spent 10 years working in the Drumgeon in Musicmaker, where it is fair to say he was regarded as a reliable source for any drum advice. He also built up an amazing roster of drum teaching accolades having worked with some of the world’s top drummers
What type of drum kit do you use?

At the moment I go between an Ayotte Velvet series steel hoop kit and a 1970’s Pearl Wood/Fiberglass. 
The Ayotte is a 22x16, 12x9, 16x15 Maple kit. 
The Pearl is a 22x16, 12x8, 13x9, 16x16. 
My main snare is a Ludwig Acrolite 14x6.5. 
And I’ve a mish-mash of Sabian cymbals. I’m kind of known for having loads of hi-hats. I’ve got 3 or 4 different sets on my kit at any time. 

Who are your favourite players?

My favourite players right now are: 
Stephen Creighton who is my pipe band mentor and World renowned Drum Sgt of St Laurence O’Toole pipe band. 
Dan Mayo is a super experimental kit player who combines acoustic drum sounds with modular synths and heavily processed effects. 

What are your favourite albums / songs?

Wow there’s so many great albums and tracks to pick from so I think it’d be easier to give you the tracks and records I can’t stop listening to recently. 
My favourite albums currently are:
KAYTRANADA - 99.9%
Kendrick Lamar - To Pimp a butterfly
Favourite song currently is:
Illingsworth - Magic Deck


Can you tell us some of the artists that you have played / recorded with?

My first serious band was Distractors who were a Finglas based rock and roll outfit that toured Ireland for 3/4 years and played all the usual venues and festivals. After Distractors I took a few years break to concentrate on Pipe band drumming. 
I am the current drummer for Dublin rapper Rebel Phoenix @rebel.phoenix
Alternative band Errorists @erroristsband
Experimental improv band RRestlers @rrestlers
Dublin blues legend Mary Stokes @mary_stokesblues

What advice would you give someone wanting to play drums?

For anyone thinking of playing drums I’d suggest getting lessons. Try out a few different teachers and find out which teacher suits you best. Go into Musicmaker and make friends with the lads in there. They are a great source of info and advice for all levels of drummers alike. 
Also try and remember that no matter how serious you do or don’t take it, it’s only drums!! It’s supposed to feel great and be fun always! If it doesn’t enrich your life and soul it mightn’t be for you. 

How did you cope during the COVID-19 lockdown?

I know it may seem a little strange but I really enjoyed the lockdown. I didn’t realise how much I needed a recharge and a rest. I’d been grinding and working flat out for quite some time whether cutting hair in Trench or drumming with various acts and artists. So when the lockdown happened I took a breather and was mindful of getting into a daily routine. I didn’t drink any alcohol, started practicing yoga and spent a lot of time with my practice pad a sticks. I revisited a lot of my pipe band tunes which was great!! 
I know that gigs won’t be happening any time soon so I’ll keep up my practice and enjoy working in the barber shop now that we’ve reopened. 
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Rob  is regarded as a great drum tuner and can still be found working with some of Ireland’s top bands/drummers/studios. His @kungfudrumming classes are a popular fixture in @yellowdoormusicstudios and has brought a sense of community for the resident drummers while refining their craft.