Lastly, get paid. This sounds simple, but it’s important. And you’d be surprised how difficult this part can be. For musicians, it’s not common to get paid before you do the work. Therefore, you’ll probably have to type up and send an invoice. There is a myriad of ways to transfer payment such as: direct deposit, PayPal, Western Union, cash, or “the check is in the mail.” Keep track of all outstanding payments because certain people will space out and forget.

I hope this gives you a brief look into what I do to prepare for a performance. You’ll find that most pro drummers out there have a similar approach and work ethic. And keep in mind this sports quote: “Don’t practice until you get it right. Practice until you can’t get it wrong.”

*thanks to Kevin Stevens and Stewart Jean from Musicians Institute for the additional help.

Countless articles have been written about the professionalism needed to maintain a career as a working musician. This includes concepts such as “punctuality,” “getting along with others,” and “not vomiting in the artist’s dressing room or getting arrested at the airport.”

Assuming we’ve already read and internalized these nuggets, I’ll just skip ahead to showtime. Hint: I like to write my own set-lists and tape them where I can see them. It’s a habit that makes me comfortable. On these set-lists, I will often scribble a note for each song such as “count off the guitarist for this one,” or “switch to mallets,” or “don’t forget those crazy hits at the end.” These are just reminders to glance at from time to time.

Beyond learning the songs, I also take the time to walk through the moments that occur between the songs. For instance, does the singer tell a story or joke between songs #2 and #3? Or, is there a non-stop segue between songs 7-8-9? I like to be in charge of time between the songs so as to keep a good flow. It’s almost a choreography that I develop (tighten the loose snare drum lugs here, drink a sip of water, fix the hi hat clutch, switch to brushes, add a sizzle chain to the ride cymbal, switch the patches on my sampler, crack an inside joke at the bass player). This all happens seamlessly during the few seconds between songs.

Beyond that I would say, (1) shake hands with all the band and crew members before you go on. So many people are in their own worlds before a show. Smart phones, ugh! This is a team effort. (2) Expect that things will go wrong on stage, and embrace those moments. They can be a whole lot of fun! And, (3) hug and celebrate with your gang of musicians once the show is completed. It’s not just a collection of songs. It’s an event!

At some point, the topic of “Look” will probably come up. A person called a “Stylist” will probably tell you to “wear all black” and “just look cool”. Rock & roll.

OK. So we’ve confirmed the dates for this upcoming performance. We’ve learned all the music. Now we have to organize the logistics of the equipment. You’ll probably have to find out, “Does the venue/studio have its own backline? Or shall we rent a drum kit? Or do I need to bring my own gear to the gig”? Then, according to the music, I will decide on drum sound options. The kick drum size, and its tuning. The amount of toms, and their sizes. Coated Ambassadors vs. Clear Pinstripes? A metal or wood snare drum? How about a side snare drum turned off and cranked like a timbale, or deep and chunky? Which cymbals would work well, and how many? Maybe an extra mounted hi hat would be cool. Double-pedal? Are there mounted percussion elements that would add to the music, such as tambourines, cowbells, roto-toms, more cowbells? Of course, we’ll need a gong bass drum. Trashy cymbal effects and cymbal stacks are en vogue. And so are treated drumheads with elements like car keys, jingles, splash cymbals, drum wallets, BigFatSnares, and Keplinger metal creations. Should I add a few electronic trigger pads and trigger pedals? Maybe I could use some alternate stick choices like brushes, rods, maracas, or jingle sticks. Maybe a song would sound better if I left the drumset altogether, and only played cajón, or marching snare, or pandeiro. Will we be on in-ear monitors? Will there be computer tracks? Will I be asked to run them?

Here’s an example of a sample drum rider that I would send to a rental company:

Brendan Buckley: Drum Rider (Shelby Lynne 2015 U.S. Tour)

DW (Jazz, Classic, or Collectors Maple series):
– 14”x22” bass drum (hole in front head, with pillow inside)
– 9”x13” rack tom (on snare stand)
– 16”x16” floor tom (on 3 legs)
– 6”x14” black nickel snare drum
– 5”x13” titanium snare drum

DW Hardware:
– cymbal boom stands (x5)
– snare drum stands (x3)
– hi hat stand
– DW5002 double pedal (x2)
– throne

Sabian Cymbals:
– 15” Artisan hi hats (or HHX)
– 22” Artisan ride cymbal (or HHX)
– 18” Artisan crash (or Evolution)
– 19” Evolution crash (or HHX)
– 19” HHX Extreme crash
– 8” splash

Remo Drumheads:
– Coated Ambassadors on all tops
– Clear Ambassadors on all bottoms
– Powerstroke 3 on bass drum batter side

Vic Firth sticks:
– 5A wood tips
– T1 Timpani mallets
– Heritage wire brushes

LP:
– mounted cyclops tambourine
– shaker

Accessories:
– drum rug
– gaff tape
– drum key
– towel
– water
– miniature electric fan