When working with multiple artists, each requires a different approach. I find it helpful to start by imagining what the artist might want to hear and feel from the drum world. For example, one artist may want something very drumloop-oriented, while another artist may want their drums to be extremely interactive, dynamic, and organic.

On the Shakira gig, I am asked to cover a very broad spectrum of styles within the course of one concert. Some of her songs are based around eighth-note rock beats where I get to put on my John Bonham hat. Others are full-on dance tunes where I play 4-on-the-floor disco beats. There are even some songs that are so electronic that I find it better to play them on my DrumKat and Akai sampler. I simply sample all the kicks, snares, and explosions from the original Pro Tools sessions, and lay them out across the DrumKat. Then, I perform the parts as if I were a drum machine so we can avoid using too many sequencers on stage. Over time, I have found that certain songs sound better when played exactly like the record, and other songs allow more room to experiment, adapt, and rock out.