Nicholas Mason (AKA The Living Dead Drummer) has performed all over the world with artists as wide ranging as Shania Twain to Beasto Blanco. He is a highly experienced pro drummer with a level of motivation and drive in his work ethic that has made him rise above the pack with appearances on GLEE, MasterChef, Cartoon Network, Showtime, FOX, and ABC.
What is your professional history as a drummer?
Hmmm… Let’s see…
I started playing out in bands when I was in high school, and teaching music lessons at age 18. By the time I was in my early 20’s I was playing in groups that were traveling and doing some small touring. It kind of just progressed over time, weekend tours turned into week-long runs and so on. I got a taste for the hired gun thing early on. Some friends asked me to fill in for their band when they lost the drummer. Having to learn someone else’s music was unique and I enjoyed getting to experience different types of playing situations and styles. Being available for outside work has led me to some amazing opportunities. It’s allowed me to work with insanely talented artists, perform in huge arenas and festivals, and travel the globe.
What was the spark that inspired you to become a drummer?
My family. I grew up with a very musically supportive environment. My Father is a guitarist and owns a prominent Guitar Repair business in Western NY. My Mother, along with her entire side of the family is all drummers! And I mean, like the entire family! Aunts, Uncles, Cousins, and if you didn’t play the drums you married a drummer, or your kid became a drummer. So picking up the sticks was more of a heritage.
You share the same name as Pink Floyd’s drummer. How do you handle any confusion?
Yes, that’s true. Not planned, total coincidence. I try to be polite when it comes to confusion, but I have to admit there have been times when it does get under my skin. Mainly because some people see a name and jump to an assumption without looking at the evidence surrounding it. Especially in an age of social media where a photo is typically displayed above the name, and should be obvious that I’m not in my 70’s, or the lack of mention of Pink Floyd anyplace on my internet presence. I get it if it’s something different like making a phone call and the recipient gets a “Nick Mason on line one” message. That’s forgivable. Having the “Living Dead Drummer” title the last few years has really helped move me farther away from the confusion and reinforce my individuality in the music industry. These days it’s less frequent that people mistake me for him, and more “Oh, you have the same name as,” and an afterthought.
What have been some of the biggest performances and stages of your career?
I’ve had the pleasure of playing at Staples Center in Los Angeles, Key Bank Center in Buffalo (Then called HSBC Arena), Baseball stadiums, Sahlen Field, also in Buffalo, and Petco Park in San Diego. I also did the Electric Daisy Carnival in Vegas a couple times. Those EDC crowds can get up to 100,000 per night!!
How did you land on the name Living Dead Drummer?
A few years ago the Coffin Case company was celebrating their 20th anniversary. They had always done a fashion show at the annual NAMM show in Anaheim. I was asked to contribute in some manner for the big anniversary. We came up with the idea that myself and another drummer buddy of mine would flank the stage with out drum kits. The Coffin Girls would do the runway modeling to classic metal songs between the kits. They had us all done up in horror makeup and outfits so we looked as if we just crawled out of the grave. It was sick! It was in the dressing room, while we were getting our makeup done, that I first got referred to as a “Living Dead Drummer.” The light bulb went off over my head, and I took the idea and ran with it. Bought the website, changed all my social media over, and registered it every place I possibly could. It just made perfect sense. I love horror, I love drums, and because of my work ethic people frequently ask “When do you sleep?” I don’t, I’m “Living Dead.” Hahaha.
What’s the key to staying flexible with all the different types of bands you play with?
Proper planning with your calendar. Whenever I’m in contact with a new potential client I always try to be as up front as possible. My schedule is first come first serve, and if I’m already obligated with another artist then I’m not available for you. I want to give everyone I work with 100% and it wouldn’t be fair if I canceled or rescheduled one person for another. I’ve found that as long as I’m honest, and establish these things right from the get-go most people are cool with it. I do tend to be a bit of a workaholic, and want to please everyone. It’s not uncommon for me to book multiple gigs in one evening, on top of rehearsals and teaching lessons all day.
What are some things about your style that shows off your uniqueness and individuality?
I strive for accuracy and a good pocket in my playing. I want every note to be intentional and consistent. If I play a ghost note, it was on purpose, If I hit with this side of the stick versus that side, or accent this note and not that one. It was on purpose. I’m also no stranger to getting a little flashy and “performing” while on stage. I’m a firm believer that while on stage our job is to entertain, and no one goes to a live music concert, especially a rock concert, to listen to music. They go to watch a show. If you can’t give them something to watch you’re failing at your job.
What life experiences have had the most influence on your current musical performance choices?
When I was fresh out of college I landed a job in the music industry doing Artist Relations. It was the only “real” job I ever had. It was great, and I learned a lot about how the industry operates. I was exposed to a whole world that I’d only read about in the trades. However, I quickly learned that it wasn’t for me. It cut too much into my time as a teacher and performer. Prior to that job I was teaching five days a week, at three different music stores, and playing out in multiple bands. All of a sudden I had a nine-to-five, with a 401K. I had to drastically reduce my student roster, and all my bands had to wait until I had vacation time to hit the road. Working in Artist Relations meant that I spent all day talking to other musicians who were out there doing what I wanted. I needed to be the guy on the other end of the phone, like they were. I split after only three years and dedicated my life to being that guy.
What artists have had an influence on your drumming styles?
I borrow from a lot a people! I was always a big Metallica fan growing up, especially in the early 90’s when I first started playing the drums. Lars has such intensity and energy on stage! Josh Freese, I discovered when A Perfect Circle debuted. I was so impressed with the creativity on that first album, that I had to look him up, and found that I has unknowingly been listening to him for years! His resume reads like a Billboard Top 100 list. Seeing that is what pushed me to want to work more as a hired gun. What’s better than being in one successful band? Being a part of ALL the successful bands!! Another band I grew up on was Aerosmith. Joey Kramer basically taught me how to play a song. Sure, I learned drum patterns, and rudiments, and formal music stuff rom my teachers, but learning song structure, and dynamic choices between a chorus and verse, or when to pick up the energy in a solo or song outro? That was the writing of Aerosmith, and Joey’s approach to his drum parts. On a visual and creative stand point there’s the dynamic duo of Sully Erna and Shannon Larkin from Godsmack. Sully’s known for being the bands front man, but he’s a jack of all trades and started as a drummer. I think at this point it’s common knowledge that he was behind the kit on Godsmack’s first two albums, and a large chunk of the ones following. The drumming on those first two in particular I found to be really creative. Tight Hi Hats, where you might think a more open sound would have been placed. And some really creative kick drum patterns that all felt like the song was entirely written around the groove instead of the melody dictating the rhythm. Once Shannon joined the band in the early 2000’s it kicked up a notch. I saw them perform for the first time in 2003. Front and center against the guardrail! Shannon’s energy on stage, start to end, left me feeling exhausted as if I was the one on stage for an hour! He was like a human rubber band, whipping his whole body back and forth to the beat right from the first note. I went out and bought the DVD from that tour right after and analyzed his movements on stage. The monkey arms, the stick tosses, I watched and said “I could do that!”
How do you connect and engage the audience from behind your kit?
I like to try and make eye contact with people if possible, and let them know I know they are watching. It’s not always easy. Depends on the size of the room, or stage, and frequently the lighting can kind of make it impossible to see anyone past the singers butt. However, if I can catch you I’ll make it known. There have been times where I had the opportunity to come out from behind the kit and step right up front and interact with the crowd. When I toured with Pinky Doodle Poodle, a Japanese rock band, they had a part written into the show where we hit a break in one specific song. I wasn’t supposed to cue us back in until the crowd started getting loud. I milked that for every penny! I’d walk right out to the front of the stage and get them screaming, and start playing games with them. Getting everyone to play follow the leader with clapping or teasing them. The bigger the crowd we would have the more fun it was and the more participatory the audience would be.
Any videos in the works? Which songs and what concepts are you working with?
I don’t really do the YouTube cover thing. However, I do try to post short clips from live performances or recording sessions regularly on social media. I’ll upload longer clips and full songs to my YouTube channel. Again, they are mainly from live shows or recording sessions. I want my audience to see me in a real environment. On stage in front of an audience, or in a studio tracking drums on a song you’re going to be able to own soon.
What’s one of the hardest parts about touring? Have you had anything embarrassing happen while performing?
I really like touring, I’m very comfortable with that kind of daily schedule. The hardest part is probably dealing with people, hahaha. Not everyone is cut out for it, and I’ve been in plenty of situations where someone’s ego gets in the way. Many first time touring musicians also have a lot of misconceptions about being on the road, especially an indi/dyi kind of tour. It makes it incredibly uncomfortable because now you’re stuck with that person, or persons day in and day out. I can’t think of anything super embarrassing that may have happened. I mean, everyone has a bad night once and a while, where you just don’t perform at the level you should. In my early days I had a few mishaps that have become more “fun stories” than embarrassing. I broke a finger on stage by bashing it on the rim of the snare drum accidentally. On a separate occasion I broke the bottom head on not one, but two snares! Thankfully the second one broke during the last song of the night, but I was so pissed off I picked the drum up and threw it off stage. I think I’d handle that in a more mature way now, haha.
You also teach quite a bit. Tell us about that.
I do teach! I started teaching private drum lessons just shy of 20 years ago. I know that may make me sound old, but I actually started teaching at a young age. I didn’t really have the confidence at first to give lessons. I felt that I was still a novice and didn’t have the education or experience to show someone else how to do it, but my own drum teacher encouraged me and assured me that I knew what I was doing. It quickly became a passion. I really loved having the opportunity to show others what I know, and encourage them the same way my teachers did. Right now I currently have about 40 regular students per week. Mostly in Southern California, but there are a hand full sprinkled throughout other states that I teach via Skype or FaceTime. I’m the Senior Drum Instructor and Show Director for School Of Rock in Burbank, CA. They have a fantastic program that not only provides one-on-one lessons the old school way, but also places students into a working band and provides them with real stage experience. We are able to give these students the same real world gigging musician life, without some of the “less than desirable” aspects I was exposed to in my teens.
Name something that is a positive in the world today. And why it should be celebrated.
ART! The arts are a positive thing. All aspects of them. Theatre, Film, TV, Music, Fine Art. It can be thought provoking; it can evoke different emotions, and provide escapism.
With the amount of negativity in the world, especial on social media, it’s nice to just take a break and lose yourself in something created by another human. I encourage everyone to go out, see a movie, go to an art gallery, or go to the theater or see a concert. Go have some fun for a couple hours and don’t worry about politics, or what someone said or did online.
What are your goals both personally and professionally for the rest of the year?
I definitely plan to spend more time on the road. As stated before, I’m very comfortable in that environment. I also am in the beginning stages of booking a clinic tour with a focus on the aspects of what it takes to be a working professional in the modern era of performance. These days it’s not enough to just “be a drummer.” Everyone wants us to also run backing tracks, trigger samples, etc. Half the time you need to have a lap top open next to your kit just to get through a club show. No one ever really talks about that stuff in the music education world. I don’t know any other teachers that are showing students how to set up a click and backing tracks, or going through all the extra “non-drumming related” gear they need to have on a gig. I’m going to lean heavily into that, and show audiences the behind the scenes part of the show.
One other thing that I intend on working more with this year is Artist Relations. Due to my background working as an AR Manager, and perhaps that I’m fortunate enough to officially endorse a number of prestigious instrument brands, I get a lot of calls from up-and-coming artists looking for advice. The last two years I took part in panel discussions and seminars at the NAMM Show discussing the topic. I think my fellow panelists and I were able to touch on a lot of good points about the mystery of the artist endorsement; however you can only do so much in an hour. I’m now making myself available for more in-depth talks on a one-on-one basis. Answering any questions artists may have about how best to approach a brand they wish to endorse. Covering what typical contrasts involve, and even do press kit and EPK reviews to help put them on the right track. This service is also available to brands that want to grow their market share by bringing in artists to endorse their products. Too often new companies pop up and are just looking to make a dent in the market any way they can. It’s difficult to get in with distributors, and proper marketing can be expensive. Building a good artist roster can be helpful in establishing your brand, but mistakes are often made, direct sales under the illusion of signing an agreement with an artist have become more and more frequent. Things like that can severely compromise the integrity of your brand, and spread negativity around the industry. I’d like to help companies avoid that through proper Artist Relations Management.
Anything else you would like to share?
I’d just like to say thank you for taking the time to let me rant! Hahaha. I’d like to invite all your readers to follow me on social media. I keep things updated daily and it’s the best place to find out when I’ll be coming to your town on a gig.
FaceBook & Instagram @livingdeaddrummerÂ
and of course www.livingdeaddrummer.com
