Premier 6000 Series hardware; Premier 6000 kick drum pedal; Roland SPD-SX sampling pad; Roland Acoustic Drum Triggers (RT-10K kick & RT-10T snare); Behringer Eurorack mixer (MX 802A); Porter & Davies BC2; Sennheiser HD 25 headphones; Vater Universal sticks; Protection Racket cases and drum rug; Baskey Matt Markers and Kick Stops; LP Shakers/Cajon
With all the gigs you’ve had over the years, has it been a case of taking your core pop-rock style and tailoring it for each gig?
“I think if I wrote down everyone I’d played for it’d be pretty extreme. But no matter what style of music you’re playing and with what artist it’s all about being supportive, reliable and on it.
“Whether that’s Shirley Bassey, keeping an eye on the conductor, or with The Wanted where it’s high-energy pop rock. It’s a small industry and it’s very hard to get in. I’m very grateful to have been let in, and I just want to stay in!
“More drummers are becoming more interested in doing the session thing. People didn’t used to think like that. It sounds cheesy but you have to just love it, and I absolutely love it.
“The more you learn about the industry there are things that are grating, it’s a business. It can be difficult for musicians. That’s a whole different side to anything I got into it for - I manage myself, I haven’t got a manager I’ve just got a mobile phone and a bit of luck. It’s hard enough to make money, let alone then giving 10 percent to someone else.
“But all my gigs have had rocky elements. If you get a gig there’s a reason why you get them. Jeff Beck was rocky, Anastacia is rocky, she’s more of an r’n’b rocky thing and it’s quite guitar-y.
“I play quite hard on that but it’s a bit more chopsy towards the funky r’n’b style. You have to adapt no matter who you’re with. You change your spots for whoever you’re with.”