Drumming on World Stages w/ Jarvis 'Jeb' Barnes | Cloud Machine Ep. 82

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To me, this what you're saying is that getting their trust and getting a connection with them
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out of the room is important first. 100%. It's never not that. Like it's,
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it's always being a good person first. Welcome to the Cloud Machine podcast,
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your all access paths to the music industry. I'm your host, Matt Landry. And every week we immerse
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you in the music world and curving industry insights, offering expert guidance and exploring
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the stories that influence the industry. The Cloud Machine podcast is brought to you by AITS,
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the innovative creative agency behind some of your favorite live concerts and tours.
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Want to take your music to the next level? Join a vibrant community on the AITS network discord.
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And with that, let's get started with today's episode. Welcome back to the Cloud Machine
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podcast. I'm your host, Matt Landry. And today we have the immense pleasure of talking with
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Jarvis Jeb Barnes, a dynamic drummer, keyboard player, playback engineer, music director,
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YouTuber, if that's fair, and maybe even a motivational coach. Jarvis has been making
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waves in the music industry lately, particularly with his work as the drummer for Tate McCray,
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one of today's most recognizable and fastest rising stars. Fresh off the North American leg
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of her Think Later world tour that just rocked Madison Square Garden, Jeb's journey is nothing
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short of inspiring. Today we explore how his diverse skill set from live drumming to playback,
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musical direction and content creating has propelled him to some of the biggest stages in the world
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and what it's like working with an artist like Tate and more. So let's dive in. Hey, Jarvis,
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how are you? Great, man. How are you? I'm fantastic. I'm fantastic. I want to start off the podcast
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by asking you about your favorite live show experience as a fan. As a fan? Oh, wow.
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Oh, there's so many. I'll get one that I can I'll give to. I was in my first concert ever was seeing
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Janet Jackson. Yes. Well, so I remember that as a kid, seeing that performance, like knowing exactly
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how it felt. I remember the smell. I remember who I was sitting next to. Like, I just remember
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every aspect of that show and thinking, this is great. Yes. I didn't have the like the drummer,
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like I know, like a lot of drummers, like they saw a show and they're like, this is what I want to do.
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I think drums is kind of like innately in me. So I kind of knew that's what I was going to do.
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But that was definitely one. And then I would say a blanket thing is like any concert that my
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my friends are a part of, I think is always incredibly rewarding. Like, it's always amazing
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to do what we do. But when you can see your genuine friends, like your brothers and sisters
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doing like just amazing things, you're like, yes, guys, like so awesome to be a part in this
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small theater up to stadiums. Like, it doesn't matter. It's like, as long as you're out there
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giving it your all. I love seeing my friends doing amazing things. So, yeah, that's let's say Janet.
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And then, yeah, yeah. I mean, there's something about like seeing seeing the fringe and seeing
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like the village sort of do what they want and stuff like that, you know, for you are there
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specific times that you saw like, you know, you like you're saying your brother's sister,
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maybe somebody that you you a co-worker from the past, seeing them shine on stage that that
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that is remarkable. Absolutely. One of my best friends, John Witt, he's Co-MD with Drew on the
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Casey Musgraves gig. And I wasn't super hip to Casey. It's not music that always just comes
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across my desk once you even learn or to consume. Yes. However, you know, it's like, are your best
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friends playing the show? Like, I bought my ticket. I didn't even ask him for a cup. I bought my ticket.
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And then this going and seeing how amazing they were musically, obviously, all of those guys that
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are on that stage are monsters. Yeah. Like they just don't miss, you know. Yeah. Yeah. Yeah.
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On top of just witnessing production, how she interacted with the fans, how she interacted with
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the band, how the band interacted with themselves, you know, the reception and feeling of the room,
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seeing like the upset, like the whole thing talked about and was just a very rewarding time to see
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your friend be a part of that and also know that he had a great responsibility of editing sonically,
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how it translated over as well as like bands and crew and usually don't always get recognition.
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But she had a whole credit reel, everyone's name. And I was like, wow, this is amazing that
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she has taken note to. I mean, everyone from cameras operators got noticed. Like it wasn't
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just the band or, you know, background. It was just everyone that was a part of making that come
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true was like in the credits. And I was like, wow, that's really cool moment. And to know that your
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friends, friends, obviously, but also one of your best friends, like as a key to my place,
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that's how close we are. Yeah. Is out here winning. You know, it's like. Yes. Yeah. Yeah. Yeah. You
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know, so cool. I want to circle back to something they just mentioned, where it's like tour credits
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and stuff. And for me, it was a big eye opener when Beyonce shared hers last year for the
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Renaissance World Tour, seeing like the 300 plus people on that on that tour credit list.
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There's something about that that's just so empowering to the people that you work with
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and also like for industry people like like ourselves to see who was on the tour, you know,
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and seeing them being reflected in her like assets, you know, and she like promoted it.
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For you, for you, what does that mean? You know, you're talking about
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Mr. John Witt Jr. as well, getting that credit and shout out to that band too. Such a crazy band.
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I saw them in Barcelona a few years ago, one of my top three shows ever, ever. Yeah. Yeah.
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For you, what does that mean to you when you do get the nod, even like the, you know, the
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the, you know, the typical like drum solos and like, you know, your Jarvis on the drums, like,
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like those moments are very special and empowering to those people
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without even talking about the tour list and the credits. What does that, what does that
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sort of mean to you when artists do that? I think it means everything, you know, because
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you get this, I'm going to drift off for a second, but I promise I'll come back to how it is. But,
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you know, a lot of times you get this this word thrown at you is like exposure, you know, and
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people will ask you to take gigs for exposure. And, you know, it's like, it'll be a good thing
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for your career. And it's good exposure. It's like, well, what does that actually mean? And can
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is exposure actually going to pay your bills? Yes, sometimes it can. But most of the time,
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it doesn't unless, you know, realistically, like if your artist is directly going to call another
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artist, like you need to put my drummer on name a time that's ever happened. I'm sure that back in
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the back in the days, I'm sure that did happen. But it's not something that will always happen.
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But in today's age, with all these clips going viral, if your artist says your name on the stage
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or there can be extended, like an extensive amount of footage of you being in the credits, like
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people can actually see you in thousands and thousands of clips actually sitting on the stage.
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Like that matters. And it comes across to other musical directors or playback engineers or
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lighting directors like, man, I heard that guy that was on tape and I don't know the guy, but
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he sounded incredible. Oh, let's find out who he was. And they can quickly see like, oh, yeah,
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I do like his field. I actually I don't I don't like his image or I do like his image. Like
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they can quickly kind of dissect a lot of different things. But if your artist is saying
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that name, it's like you would hope that they're not saying this because I need a body. You're
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hoping that they're saying it's like, oh, he is somebody or she is somebody to me on the stage.
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Like it matters. Their gifts that are here matters to me. So I think that's what it means to me when
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an artist does that. And they may not even say it off the stage to you, but you can genuinely feel
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like I don't know for me, it's like when Tate and she does talk to us off stage. But like when Tate
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says it on stage, like you could tell she genuinely wants the crowd to give it up for me. It's not
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just like it's a bit in the show. It feels like she actually wants this to be a moment and she wants
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all thousands of her listeners in this room right now to peen in on what's going on over here. And
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it just means the world to me. So hopefully that answers the question.
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It's fantastic. It just it just talks to, you know, the importance of of just like the village
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around a production as well and just like how how every have every role is really important,
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not necessarily only on stage, but all the people on stage as well.
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For you, I want to ask you about what makes a live experience memorable?
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Oh, there's a lot of different things. Yeah, I would say your team is number one.
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If you got a good team like your dissension, like if you have a good crew that can get your stage up
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and down quickly and they're also not exhausted and all these things like things like that matters
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and in your audio team, like for monitor front in the house, playback engineers, your techs,
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like your people to get their solid and their fun. That's fun, you know? And then if you have
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all these things and bits and pieces that put a show together, be a good type family, that's always
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rewarding. Yeah. And then I'll give it from the other side of it is like as a player,
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obviously, when you get those moments where you see fans that are singing the songs and they're
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dancing and they're really vibing with you, that's rewarding. Or when you work with artists like
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I play for Jordan Sparks and playing no air in Battlefield, like, come on. This is like billions
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and billions of streams that have been listened to and it's still on the radio. Like you'll hear
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Chris Brown still in his set sings no air. Yeah. You know, you just can't.
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You know, you just can't deviate from like that. Those types of experiences when you have such
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iconic songs that you're playing in front of like and that's the thing was the stadium.
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The first thing I did with the stadium, the second thing was something different, but very,
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very cool. I want to get into the quote segment of the podcast. You also mentioned, you know,
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going from MDs or artists checking you out because of your image saying, oh, you know,
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I want to hire this person because of their image. This quote that we're doing this year
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is somewhat about that. It's about, you know, the entire package. It's a quote from 2004. So
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20 years ago, it's a Joni Mitchell quote. She said, I heard someone from the music business
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saying that they are no longer looking for talent. They want people with a certain look
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and a willingness to cooperate. What are your first instincts when you hear this sentence?
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I think it's a lot to unpack. Yes. I don't think it's a very short answer.
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I think there's definitely some truth and merit to what that statement is saying. You definitely
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have people that don't have talent that get on or and from every facet, right. It's not just
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artist wise. It's it's up to, you know, camera operators. You know, some people are just like
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there. But I would I would argue also that talent and hard work are still winning. I don't think
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it's just the oh, you have a cute look or a nice smile. Let me throw you on the stage and I can
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make you a star. It's like people now are really yearning for authenticity. Yes. And I think
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people are doing a really good job now that we've kind of been in this technology thing. We didn't
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know the BS, if you will. And they can feel if a conversation is authentic, they can feel if a VIP
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is authentic, they could feel if when you're delivering a lyric, if it's authentic, they can
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feel if you're you know, I'll give a clear thing is like musicians always appreciate the moment.
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And I think fans do, too, but they won't be able to appreciate what I'm saying until I say it is
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that if you have an artist that can place their microphone stand there, put the microphone there
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and just deliver a lyric without anything else going on, they always win the crowd over. I don't
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care what you say or like in Tate shows, she sits on the edge and it's just her, myself and Zack is
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next to her. Yeah. And that's it. There's no other backing tracks. There's nothing else happening.
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It's just an authentic moment. There's not a bunch of lighting. There's no dancing. It's like people
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can connect to what's happening and they can feel if that's a moment of authenticity. Right. So I
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think. Yeah, image doesn't matter. And sure, there's definitely people that are out there just trying
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to build a bear, essentially. But there's also a ton of really, really talented artists that are up
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and coming, doing really, really great things who are actually good singers that are actually good
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people that are authentic. They truly do love their fans. There's both sides. So I guess that's my
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first response is that it's a weighted question that does have some merit, but I don't want people
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to listen to that and get discouraged. Like, well, they're just going to pick this person
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anyway. I'm not going to try. No, that's not real. There's benefits of trying. There's benefits of
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trying to be authentic and move the way you're supposed to move and nourish your gifts from God.
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Like, don't get discouraged by hearing that. That's. Yeah. Yeah. No, a general question for you.
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Where do you think the industry is going? I can only speak to live this because that's the main
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world that I work in. I don't know anything else when it comes to record or an hour. And I don't
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know that world, so I can't speak to it. I think live is transitioning back to
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live instrumentation. There's always going to be an element of technology because you can't avoid
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it. So anybody who's on this can't use backing tracks, so they don't use like vocal processes.
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It's like, get over yourself. Like we're moving things along. This is like the part of technology
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you have to do to enhance this show. Yeah. But there's also still the there's four piece bands
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that are out there just killing. You got Justin Timberlake, like like 11, 12, 13 people are in
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that band. And OK, you got 12 people on stage. There's not much that's going to be in the box,
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which is the playback world. You know, same thing like Casey's band. I walked into their rehearsal
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and I'm blessed enough to have been in their rehearsal and I looked at the playback session
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and there's no stents. Everything was zeroed out. It was click only. And I said to John,
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I said, Whoa, are you all playing all this? Yeah, man, like we want to cover this stuff. So it's
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like there's a lot of still really good bands out there that are doing cool stuff. So I don't know.
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Yeah, from from what I hear is that like and to your previous sense as well, it's like the rawness
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and the authenticity is coming back and we're seeing it. And even though like socials are still,
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you know, somewhat at the top of the discoverability aspect of the music industry,
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you know, you're seeing even on TikTok and on Instagram, like the audience wants authentic
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and they want the real thing and they want the they want the content from your bedroom and you
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just talking to the camera in the selfie mode or whatever. Yeah. And we're seeing it now on stage
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as well. And to your to your point, to your experience with Tate, like that moment where
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she's sitting just at the at the corner at the edge is is real. And the fans want that as well.
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You know, they want the pyro, but they also want the acoustic moment.
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Yeah, bro, I can remember vividly and stayed on. There is a vocal sample that plays is because we
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just couldn't cover it. Yeah. But other than that, it's just us. So I remember Vivi, like there's
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this girls who are just they have their phone up, but they're singing these lyrics like.
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Full on like full heart soul with the chest, man. Everything was just into them singing these
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lyrics. And I just felt so happy. I'm like, thank you for letting me be a part of your moment,
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even though you didn't ask me to. It's like, thank you for being here. And this is like your true
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self and your she was like our best friend. You could tell they've been best friends,
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just sitting in their hearts out of this is awesome. Like, thank you for letting me be a part
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of this moment in your life right now. And they'll never forget it. So, yes, they're they love that
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on the district. Sure. Are you seeing some new developments in the industry from your chair,
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from your position that you're interested in? Maybe are there some things that you're seeing
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that maybe not a lot of people, maybe not a lot of fans are seeing that that may be, you know,
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big or something in the next few months that you're seeing sort of like an early glimpse of?
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You mean like a like a job or like a skill setting there or just like something that you something
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that you've come across recently and you're like, oh, that's new. That'll be that'll be cool in the
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next few months. Maybe it's something you maybe it's a new role in the industry, like you're saying,
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maybe it's something that you've seen in the past, you know, in the past month being on the road.
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Yeah, I would definitely chime into like the playback is like, I don't know, I think it's
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one of the coolest jobs out there, which is also why I dove into it heavily. But there's a lot
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in that chair that happens that I think is really cool. And you had TJ on, so I'm sure he probably
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talked a bit about some of the stuff that he does with Sabrina. Yeah. But like, there's so many cool
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things that happen in that playback world from the trolling, some vocal processing, to making sure
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you're keeping the band in order from time code being distributed. And it can get really, really
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creative with controlling video and controlling program changes, meaning all the instruments that
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are happening real time, essentially, once these guys and girls program their guitar pedals and
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bass patches and all this other stuff, you're essentially sending out signals to control it
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in real time. So if you're good at your job, you never have to your instrumentalist never have to
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touch the pedalboard again, or their keyboard again, it's like everything is going to be sent
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out MIDI wise signals that are going to control every aspect. Like to me, I think that's cool
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shit. Yeah, I think that's a really cool way of utilizing technology, but still keeping the
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players with it. I'm sure there's like old school guitar person, I want to push my pedals myself,
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like, okay, bro, like we don't care. Like, if you want to do it, that's fine. Like,
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school stuff. No, for sure. And just, you know, working with with that allows the artists to
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become, you know, more more confident and more rely more on like a sustainable, you know, solution.
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And yes, technology sometimes bugs out. But to be able to not be at your pedalboard and to go
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in maybe not in maybe not in the crowd, maybe sometimes in the crowd, but you know, be at the
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at the forefront of the stage and not have to, you know, press your patch change on your Nord or
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whatever. When you, you know, it there's a lot of MIDI capabilities in the playback world that is
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so interesting. And it's only developing, we're seeing new tools every single year. Oh, yeah,
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to develop that. It's insane. Want to get into to Jarvis here. Can you tell us about how you first
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got into drumming and what drew you to the instrument? Cool. Um, drums is kind of the
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only thing that made sense. My first instrument was actually was I mean, my mom will say it was
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drums by like structured instrument was trumpet. Okay. And I just wasn't me. Right. My brain wanted
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it to happen. And my mind was definitely on this like, oh, this would be a really cool instrument.
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However, like it just didn't read quickly. And I remember, so my brothers are one is, I think he's
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15 years and four days ahead of me. And then the next one is seven years ahead. So there's a pretty
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big gap. Yeah. So my oldest brother played drums and the drum line in high school, because that
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would be the right age bracket here for me to actually see him do stuff. Right. And I remember
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and I remember grabbing his mouse because he played quads and he got upset because I was playing
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stuff that he couldn't play. And like, he's a teenager. I'm trying to figure things out.
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And I'm just kind of navigating this. And then my middle brother was like drum major and just like,
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he was in the band and played multiple instruments and blah, blah, blah. So I was always kind of
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naturally around music. Right. And I grew up in a small town. So we kind of all knew each other
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kind of vibe. So very fortunate, the band director, Mr. Sandlin, which is still a friend and
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phenomenal guy. Shout out. Yeah. Huge shout out. Just took an interest in me. And like he even
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gave me my first marching band harness when I was a kid. No drums, but just like you always felt
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cool with the harness on. Yeah. So, yeah, that's kind of like picking things up as I would go to
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his concerts and all his friends like, Oh, your brother's good. And yeah, I'm just kind of this
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nurse from there. But yeah, the drugs is the only thing that made sense is the answer to your
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question. Well, because it was, it seemed like it was like, it was a pass down basically. Yeah.
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In a way, for sure. Yeah. When did you realize that music was going to be your career? Was there a
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specific moment or performance that solidified that for you? For sure. Yeah. Summer of eighth grade.
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Okay. So going into high school, I was, you could argue semi pro tennis player. Okay.
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It's just highly competitive and was making money doing it. Like I've won a few competitions,
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that kind of stuff at the time. But tennis is a very expensive sport and I didn't grow up rich.
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And music is also an expensive thing. And one thing on my personality is I don't do anything
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half-assed. So everything I was doing was just like all in. Yeah. So, you know what I mean? I was
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like, all right, Jarvis said he's doing it. It's like buckle up because this is what's happening.
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Right. So my dad made me make kind of like an indirect decision. It wasn't like a sit down,
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like hard, like you got to choose, but it was kind of just like, Hey man, you got to start getting
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a little more serious about one of these things, either direction. Like you got to go with this
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music thing or you kind of need to drop the music and we got to start putting you in some other
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stuff for tennis because either direction here, we just got to go that route and you can't really
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split your time. Right. He didn't say it as eloquently as I'm saying it, but you know,
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the conversation happened. Sure. So then I just chose music and I chose it off of this reason.
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It was the only thing when I was frustrated, I still wanted to keep going and do. Right. If
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that makes sense, like tennis, I would definitely get pissed off. I would lose a match and you know,
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I want to slam my rackets or break strings and you know, throw my shoes across the court. Like I was
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just like, it was like a real big outburst with music. It's like, shit, I missed that lip was
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like, I'm not leaving here. So I nailed it. Yeah. You know, it was one of those types of things.
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That's frustrating for sure. But it's like, once you get it, you're like, Oh, I'm killing all like,
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yeah, yeah, yeah. I don't know. I think that was the deciding factor right there. It was only,
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I didn't frustrate me. Yeah, no, I mean, I see myself in that, in that story. I used to play
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like competitive baseball and you know, come, come home, you know, very frustrated in the car,
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you know, throwing the gloves in the, in the, in the bag, the cleats and shit. And yeah,
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with music, I didn't, it didn't have that, you know, it was like, okay, let's go again. Let's
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press play again. You know, let's, let's get those shots in. Let's do all that stuff. And it always
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felt more of like, like, not necessarily community, but a team, you know, I'm sure you, I'm sure you
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felt that in tennis where it is a solo sport. So you don't, you're only necessarily like relying
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on yourself. But let's say in music, if you, if you miss that lick, it's going to show bad, like
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it's going to be bad for everybody. So anyway, I, I, I see that in, in, in see your journey and
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myself and I get that it was sports versus music for me as well. Who were some of your early
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influences and how did they shape your musical journey? Oh boy. So I grew up playing jazz,
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like hardcore bebop, big band, like heavy. So, you know, I was definitely into like the count
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Basie. So sunny state or sunny pain, excuse me. Yeah. A lot of cats don't even know that name,
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but they know all the records that do it is played on, but I remember watching a DVD of him just
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like, it just felt great. Sure. You know, this felt amazing. He was just cool and swab and everything
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is very intentional. And then you obviously have like the grace when it comes to the drummer,
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drummers like buddy rich gene group. And then at that time growing up, I was getting awards of
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modern guys at the time, such as like Dave Weckl, Vinny Caliuta. And then I discovered
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Pat Metheny. So then I fell down the rabbit hole of Antonio Sanchez, you know, like that just like
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blew my mind over stuff. And then I just started playing also like black metal. So like I was like
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into like sales and all this other stuff. Like you're just diving into a wide variety of things
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and like 311. It's like, and then you find like the Matthews man. It's like, there's so many
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different things. Yeah. But yeah, I would say that's the earliest stuff is like listening to
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like the real jazz heads, like really, really locked in, right. Like the art of drumming.
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Yeah, yeah, yeah. Really. And it just kind of has evolved for sure. But yeah, those those cats are
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still the ones that I'll reference if I'm just even if you're low, you know, or you're going to
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practice some stuff, you're like, let me you forgot this one art blicky lick, you know, like,
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and you're talking about some of the like, like your favorite drummers, drummers, you know,
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Yeah, like some of those some of those cats, for sure. It I just want to ask you this, because
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I have, you know, some of the references for myself and my drumming sort of journey. Do you
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remember the video, like maybe it was YouTube, maybe it was a DVD that like really changed,
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like things for you unlocked something. Oh, man, like the first time that you saw one,
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one of the videos, you're like, holy shit, this is like, this is a few actually. Yeah, there's
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yeah, no, I mean, legit, like, there's a few and even so this day, there's definitely videos I can
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recall, like modern right now. Yeah. Definitely channel one sweet, buddy rich, insane. Yeah.
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I remember watching when I first discovered, like I said, Pat Matheny and then diving into
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Antonio Sanchez, you'll hear things on like, what is the album called the way but it's like
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three parts or something like that. Okay. Or four parts, excuse me. So open our part one,
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two, three, four, or part three, excuse me. There's parts in there that you think a percussionist is
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covering. It's not like Antonio is playing some shit over here. And you're like, Whoa, but you
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you don't know what's happening until you watch the DVD. Like, what is this left foot clave actually
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you got going? Time out, mom. We're on the way to the music store because I got to learn this thing.
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Right. And then like the old clip of Tony, Tony Versa jr. playing like that Red Pearl kit, like,
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knock it off, bro. Like that dude was in there just destroying things as a child. You're like,
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All right, I guess this is the standard. Yeah. Yeah. Tony Royster jr. and even like the recent,
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the recent clips of him playing like jazz in a lounge. I don't know if you're on that, but
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that's like, what? Like, I didn't know you're also doing this.
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Yeah. Tony's the man. I don't care what no one says. Tony is the man. It's, it's, it's insane.
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It's insane. And even Tony's yeah, like Tony's like child videos are stupid. Anyway. Yeah.
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Insane. And I would deficit is one more. So in drummer world, there's a trio of Dave Wechel,
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Steve Gad and Vinny Kyle Yuda. Come on. Like, what are we talking about right now?
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Oh, they locked into that groove. Oh, it's insane. Yeah. I would want to, I mean, I know that there's
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so much between the beginning and now, but how did you first get involved with artists such as
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Tate and what in your typical process is, is there an audition? Is it all sort of, you know,
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recommendations like word of mouth stuff? Like what's that process like for you?
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Sure. So like I said, I started with jazz, so it took me a while to really understand
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mainstream music. Yeah. I didn't grow up in the church, like a lot of the drummers that are on
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similar gigs as myself. So I had a huge learning curve to get to this place. Also, those guys who
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grew up in church already had the chops, the licks, the phrasing, the feel, the understanding
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of what was going on. They, when we got to this level are now just learning how to incorporate
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electronics. I'm having to do both in real time. Right. So that was a huge process. When it comes
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out of getting work, there's sometimes like open calls to do certain things. Right. And I'll say
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this about those. Some are legit and some aren't. What I would say is just ask yourself who's putting
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an open call on and what their reach is. And if their reach is real, why are they having an open call?
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And it's not to say that anyone who has done this is like a bad person or anything like that. I'm
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not saying that. What I'm saying is sometimes you'll have people who do an open call and yeah,
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they might be in charge of it, which is fantastic. But if they're not referring out their friends
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or calling their friends to ask a friend of a friend, you got to think maybe why is that
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happening? Right. Maybe they have pure intentions of trying to increase their network. Maybe they're
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trying to grow their company, which is very possible. Or maybe the budget isn't great.
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So you have to decide, OK, even if I was to get this gig, would I go out for X amount of dollars?
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Because just remember, if this person has a reach, they can call their friends to go do something.
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But if they're not calling their friends, this probably has to do with the money. Nothing else.
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Right. So yeah, this is mindful about that. So yeah, open calls do exist. But a lot of the
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times, man, it is very much so word of mouth. Yes. This industry is about who you know. And
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I'll also kind of address one thing I know. I do consultations as well. And I get a lot of
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up and coming drummers and musicians that are like, fuck, there's like a lot of gatekeeping. I'm like,
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man, I can empathize with what you're saying until I got into the room and realized that's not what's
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happening. Yeah. What's happening is that you have people who have an ecosystem and a system
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and a system of how they like to run things. And the more efficient their system is, the faster
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everything can happen. And there's a lot of levers or levels to that system. Right. It's are you on
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time? Are you reliable? Do you know my method of Dropbox? Do you know my method of returning
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files back to me? Do you know my method of how I like to run my rehearsals? Do you know the people
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in the room? Can I trust that you're not going to say anything crazy to the 16 year old artist
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because she's in the room right now? And I know you like to cuss like, you know, there's no
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less of that. You know, I have a sober artist and I know you smoke weed all the time. Like,
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are you coherent enough to realize maybe you need to be on a pen for this run and not smoke weed?
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Like there's levels to that, that musical directors are thinking about before they hire out somebody.
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So when you got people like, let's just use the big fish in this situation. Like Adam Black,
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Adam Blackstone and Chris Pooley and, and during the Javan and Derek Cobb's and all these people,
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it's like they didn't get to that place having fuck ups, you know, and if they did have mess ups,
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they didn't, it wasn't enough to mess up their career, but they were learning from it and
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adapting and molding natures. And when they do that, they were building a team. I know
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NFP working with DJ like the back of my hand. I know the structure. I know how he likes to walk.
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I know how he likes to talk. And I'll give a clear example. DJ is one of the best drummers in the
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world. I don't care what anyone says. DJ is a drummer drummer. And he's also an artist drummer.
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When that guy sits on those drums, he's going to make anything feel amazing. DJ likes to think
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behind drums. A lot of times he's not always going to play everything because he has to MD a bunch of
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accounts and that's just not how it works. So he'll call you in to play the drums, but he likes to
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think back there. So he's going to play your part for you. There's not a lot of people that would do
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that, but if you're not aware about how he thinks in his system, you could think you're messing up.
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In reality, he's not thinking that at all. He's just like, okay, I think this feels here.
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Okay, let's try to approach this this way. Like he's just in real time thinking. So when he calls
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people, he knows, okay, my playback engineer knows how I like everything labeled already.
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He knows my Dropbox folder. He knows how this has worked. So I don't have to teach him and work
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through the system. He knows my color coding in my sessions. He knows how to consolidate things.
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I like things this way. So if I have to go back into it, I can get to it. I know what's going on.
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Same thing with monitors, front of the house. This is the NFP sound. So there's certain things
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that need to happen. So you carving out frequencies kind of carves away some of the sounds. These guys
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all know this stuff. Right. So to me, it's it's not about that. And don't get me wrong, Chris
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fully has a systems. I'm certain I've never worked with him directly, but you don't get to do an
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American night without a solid system. Yeah. You know, Ricky Minor probably has the same system.
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People have systems of how things work. Adam has a sense of I know for sure.
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Edwin, the homie, they all have a system, right? It's like everybody knows what's going on. So
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it's not about gatekeeping. It's like I have to trust you in my network, in my ecosystem to make
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sure you're not slowing down this process. Yeah, I just don't have all day to be here. And if I got
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a bunch of killing guys in this room and girls in general, and we could get this done in six hours,
368
00:36:49,040 --> 00:36:54,960
I don't need to be here for 12. Yep. I'd rather go home. I got things to do, or I could just do
369
00:36:54,960 --> 00:36:59,600
nothing. So it's like the system. So it's not really gatekeeping. So yes, the answer to your
370
00:36:59,600 --> 00:37:05,840
question is all about networking and who you know, and establishing some type of trust and rapport
371
00:37:05,840 --> 00:37:10,000
to get into that room to make them feel comfortable calling you for whatever job that is.
372
00:37:10,800 --> 00:37:17,760
Right. And to me, this what you're saying is that getting their trust and getting a connection with
373
00:37:17,760 --> 00:37:26,160
them out of the room is more is important first. 100%. Yeah, it's never not that like it's,
374
00:37:26,160 --> 00:37:38,240
it's always being a good person first. Yeah, yeah, yeah, yeah, always. Fantastic. What has it been
375
00:37:38,240 --> 00:37:45,840
like working with some of the biggest artists at the moment, especially during, and I want to,
376
00:37:45,840 --> 00:37:51,920
you know, specifically with Tate now, and you know, I also want to be careful with NDAs, things like
377
00:37:51,920 --> 00:37:59,600
that. Sure. What has it been like working with her, especially in her rise now, you know, over the
378
00:37:59,600 --> 00:38:11,440
past couple of years? Yeah. Rewarding. Yeah. Like very rewarding. And I always kind of like, I don't
379
00:38:11,440 --> 00:38:18,000
cringe at this type of a question, but it's fine when I can say it to someone. It's icky when you
380
00:38:18,000 --> 00:38:24,000
have to type it out. Sure, sure. I get that. You know what I mean? Because it's always, it's like,
381
00:38:24,960 --> 00:38:30,960
no matter what I say, I have to say the artist is amazing. But when I'm in real time, I could actually
382
00:38:30,960 --> 00:38:37,040
convey emotionally that no, Tate is actually amazing. She's really good person. Number one,
383
00:38:37,040 --> 00:38:42,720
I've never seen her in like a bad mood. I've never seen her not ready to work. I've never seen her
384
00:38:42,720 --> 00:38:47,520
like disrespect anyone in the team. She always speaks to you. She will always give you a hug.
385
00:38:47,520 --> 00:38:54,000
Like she always acknowledges that you exist. So, one of the most infectious laughs ever,
386
00:38:54,000 --> 00:38:58,960
like just listening to her laugh with the dancers and her, you know, back and forth with us. Like
387
00:38:58,960 --> 00:39:05,840
it's just, it's refreshing. So yeah, she's amazing in that sense, but also just the whole structure
388
00:39:05,840 --> 00:39:14,240
in the team itself is phenomenal. Like really phenomenal. And it's kind of being a part of that
389
00:39:14,240 --> 00:39:21,840
ecosystem is been great. And I think it kind of defines, it kind of helps define what you're
390
00:39:21,840 --> 00:39:27,680
willing to do in next camps or not because they have such a really, really great system of how
391
00:39:27,680 --> 00:39:34,640
things work. Is it perfect? No, but they're always trying to get better at that. And I think anyone
392
00:39:34,640 --> 00:39:40,640
on that team will say that, like you're never going to bad mouth the tour manager, stage manager,
393
00:39:40,640 --> 00:39:47,760
production manager. Like they're all amazing at what they do. So yeah. And being with her on
394
00:39:47,760 --> 00:39:54,160
the rise has been rewarded because we were with her for a lot of firsts this year. Her first MSG,
395
00:39:54,160 --> 00:40:01,280
her first Lollapalooza, her first world tour going into these types of rooms, her first 20,000 people,
396
00:40:01,280 --> 00:40:08,560
her first 17,000 people, her first 10,000 people, her first reveal of a new song. You're with her to
397
00:40:08,560 --> 00:40:14,240
do her first collaboration with Megan Maroney, her first collaboration with Kay Leroy. You're
398
00:40:14,240 --> 00:40:22,720
with her for a ton, a ton, a ton, a ton of firsts. And I never take it for granted the blessing
399
00:40:22,720 --> 00:40:28,560
being a part of that journey because she doesn't have to pick me. She doesn't have to say, oh yeah,
400
00:40:28,560 --> 00:40:33,440
she doesn't have to have a band. She wants to have a band and she appreciates the band. So I
401
00:40:33,440 --> 00:40:38,800
just appreciate her and the entire team for allowing us to be a part of this journey and
402
00:40:38,800 --> 00:40:46,560
rocking with her. And hopefully for more, many more tours to go. Fantastic. What were some of
403
00:40:46,560 --> 00:40:52,320
the most, you know, in preparing for, for this world tour that you're on right now, what are some
404
00:40:52,320 --> 00:40:59,360
of the most challenging and rewarding and maybe some, some learning opportunities that, that you
405
00:40:59,360 --> 00:41:08,800
had during the, the preparing for this tour? Yeah, a lot actually. The drummer I was when I got the
406
00:41:08,800 --> 00:41:17,200
call is not the drummer I am now. There you go. Hands down. I stepped into DJ shoes, which is
407
00:41:17,200 --> 00:41:24,080
yeah, hard. It's really, really hard to do. So I had to have a lot of talks with God just to kind of
408
00:41:25,280 --> 00:41:34,960
drop the imposter syndrome feeling. Yeah. And say, okay, cool. He called you for a reason.
409
00:41:34,960 --> 00:41:42,800
You need to buckle in and let's get ready to go. Sure. So the time that I got the call,
410
00:41:42,800 --> 00:41:52,080
we were coming into rehearsals for the Europe and UK part of this run. And at that time,
411
00:41:52,800 --> 00:41:56,080
there was a lot of things happening for NFP, which there always is a lot of things happening
412
00:41:56,080 --> 00:42:02,800
for NFP. Thank God. But it was like a really big height of things where Coachella performances
413
00:42:02,800 --> 00:42:08,400
were happening with three different artists. Doja. Sorry. That performance, I know there's so much
414
00:42:08,400 --> 00:42:17,280
going on, but DJ specifically in that performance, Derek Cobbs. Well, it's stupid. It's insane.
415
00:42:18,160 --> 00:42:22,640
But there was a lot of just a lot of all of our resources were pretty much being tapped out.
416
00:42:23,840 --> 00:42:27,760
And when you're programming these types of shows and all your programmers are also working,
417
00:42:28,320 --> 00:42:35,040
everything is not always fast because everyone needs your attention. So one of the hardest things
418
00:42:35,040 --> 00:42:41,120
was Zach played a lot of the music, which is good to the artists. I had played none of the music and
419
00:42:41,120 --> 00:42:48,240
there was still a lot of arrangements that weren't done going into rehearsals. So one, I had to learn
420
00:42:48,240 --> 00:42:55,600
DJ's approach because that's what Tate is most comfortable with right now. And a little professional
421
00:42:55,600 --> 00:43:00,480
nugget for people is that you want to make your artists as comfortable as possible. It's just that
422
00:43:00,480 --> 00:43:05,040
simple. So if she was already accustomed to something, she's already approved something.
423
00:43:05,040 --> 00:43:09,920
She's already used to dancing to something. She's already used to freezing. It's like you need to
424
00:43:09,920 --> 00:43:17,280
try to match that before you try to change it. At least that was my approach. Yep. So I had to go
425
00:43:17,280 --> 00:43:21,920
back and listen to a lot of videos that he did. And I transcribed a lot of his fills and setups
426
00:43:22,800 --> 00:43:28,400
just to make sure at least right now when he comes in, he's like, cool, that works. You could also
427
00:43:28,400 --> 00:43:35,760
stretch out here if you want to, or let's not do that. It was already approved because it's already
428
00:43:35,760 --> 00:43:45,040
out. Do that first and then drive in. And I have to add, especially here, because with a show like
429
00:43:45,040 --> 00:43:51,200
Tate, which is very movement heavy, a lot of shots and a lot of these fills and a lot of these
430
00:43:51,200 --> 00:43:57,600
moments and these stops and stuff are very, very important. So I hear what you're saying and it's
431
00:43:57,600 --> 00:44:03,520
so true. Yeah. And very important for a wide variety of reasons. We have six dancers on stage,
432
00:44:04,480 --> 00:44:10,720
excluding Tate. Tate's also an amazing dancer. So your setups needs to be the same because
433
00:44:10,720 --> 00:44:14,480
they've probably choreographed some of this stuff based off your live recordings that you sent them
434
00:44:14,480 --> 00:44:19,760
in rehearsal. Exactly. And these hits and stops and stuff all need to make sense because there's
435
00:44:19,760 --> 00:44:23,760
lighting involved now. There's dancers that have to stop moving. There's hand gestures,
436
00:44:23,760 --> 00:44:29,600
just flickering and stuff. There's video screens going out. It's not just about you chopping
437
00:44:29,600 --> 00:44:34,080
through or doing whatever fill you want to. It's like, no, no, no. It all needs to make sense for
438
00:44:34,080 --> 00:44:38,640
the greater good of the production. So you could probably listen to a bunch of different shows.
439
00:44:38,640 --> 00:44:43,200
And the only, there's definitely some fills that are very different, but a lot of them are the same.
440
00:44:43,200 --> 00:44:47,360
There are a lot of the same setups and a lot of the same hits on certain stacks at a certain time.
441
00:44:47,360 --> 00:44:53,040
Accents. Yeah. It's exactly the same because she gets used to that. She can
442
00:44:53,040 --> 00:44:57,600
embellish certain things. She can choose to melodically go something different. If Zach
443
00:44:57,600 --> 00:45:02,000
is playing a lead line, if she wants to, you want her to be comfortable. You want everyone to have
444
00:45:02,000 --> 00:45:08,640
familiarity and know this is what we're doing. Yeah. But yeah, I think that was number one,
445
00:45:08,640 --> 00:45:12,240
the hardest part because we didn't get a lot of the material and Tate is also a workhorse to
446
00:45:12,240 --> 00:45:19,600
her credit. So she wanted to come in, I think the second day. DJ was always in the room. So we had
447
00:45:19,600 --> 00:45:27,360
Nick Biorio, great guy in the room helping us, which was a huge, huge help. But I think it was
448
00:45:27,360 --> 00:45:32,640
like 14 songs I didn't get to play. And when she went to come in, DJ was literally on some
449
00:45:33,600 --> 00:45:37,360
praise and worship kind of stuff, talking in a talkback, walking me through the song in real time.
450
00:45:38,000 --> 00:45:44,320
You know, swell like play this here. Sure. That's hilarious. Which is normal. You know,
451
00:45:44,320 --> 00:45:51,520
it's like you kind of have to get through it in that moment. So that was hard. And then also,
452
00:45:51,520 --> 00:46:00,960
I double on keys on this gig. Yes. So every single day, I would say about 80% of the time,
453
00:46:00,960 --> 00:46:07,440
you're going to get a brand new song for a VIP. So I have the one new song every single day. And
454
00:46:07,440 --> 00:46:12,160
that's after our original soundcheck that we decide whatever that song is. It's not sent to
455
00:46:12,160 --> 00:46:18,880
us by management. It's in real time. She's like, I'm going to try this. Cool. For the most part,
456
00:46:19,440 --> 00:46:23,200
everything is pretty straightforward. Nothing too crazy, but you still got to program a keyboard
457
00:46:23,200 --> 00:46:28,480
and this is your second instrument. So it's like, you know, there's definitely some, some challenges
458
00:46:28,480 --> 00:46:37,600
with that sometimes. But definitely on the break from the Europe leg to US, I spent hours practicing
459
00:46:37,600 --> 00:46:43,360
and learning the ins and outs of the Phantom. Like I was not going to hold me up at all. Yeah.
460
00:46:46,960 --> 00:46:53,280
And I would say it definitely translated to moments like when Megan came out and performed
461
00:46:53,280 --> 00:47:00,720
with us, we were originally told that she just wants to play acoustic guitar and have taste
462
00:47:00,720 --> 00:47:06,720
thing, which is totally fine. It would have been a magical moment. Yeah. But Zach and I just kind
463
00:47:06,720 --> 00:47:12,240
of took it upon ourselves and make sure we learned the record just in case. Cause if she did ask for
464
00:47:12,240 --> 00:47:17,360
it, then we're here. If she doesn't ask for it, we're still here. And you never know what's going
465
00:47:17,360 --> 00:47:21,600
to happen. Like her guitar can come out or can get unplugged. We don't want to make sure that we
466
00:47:21,600 --> 00:47:27,600
can cover it if we need to. Like you just want to make sure you're prepared. So that's so trade
467
00:47:27,600 --> 00:47:31,600
later. Like we just came in a little bit earlier. We learned the song. We listened to her live
468
00:47:31,600 --> 00:47:37,360
renditions, like five different videos just to make sure she's second in that key. Right. And then we
469
00:47:37,360 --> 00:47:42,000
lost to learn it in a better key for Tate just to make sure whatever the conversation was, but
470
00:47:43,520 --> 00:47:50,400
that's challenging sometimes. And I would say the other major challenge was MSG was a pretty
471
00:47:50,400 --> 00:47:57,040
challenging day for us. Yep. So we had a day before just so everybody can load in and we were
472
00:47:57,040 --> 00:48:01,840
supposed to get a rehearsal in for this new song that was released. That didn't happen.
473
00:48:04,960 --> 00:48:12,560
Yeah. So we learned that song in real time with her on the stage and singing it
474
00:48:13,280 --> 00:48:21,040
in real time. Thank God for DJ again. But you know, it's like one of those moments that could be,
475
00:48:21,040 --> 00:48:24,720
it's like, you got 20,000 people to get ready to show up here and you don't want to mess up
476
00:48:24,720 --> 00:48:29,120
this release because that's going to be one of the most clipped moments of that show. Yeah.
477
00:48:29,120 --> 00:48:36,480
Yeah. So, you know, it is what it is, but I would say those are the three moments of first getting
478
00:48:36,480 --> 00:48:42,400
a gig, not having the material and having to sit in on that moment, learning keys proficiently enough
479
00:48:42,400 --> 00:48:47,760
and et cetera. And then MSG, just the challenges of the day and the stakes of the day.
480
00:48:47,760 --> 00:48:55,200
Yeah. And you mentioned the keys stuff. Can you talk about how these diverse skills,
481
00:48:55,200 --> 00:49:01,680
you mentioned playback keys, MD drumming, how these diverse skills have contributed to your success in
482
00:49:02,960 --> 00:49:08,560
getting gigs, getting different calls, even just getting one opportunity that could ask for multiple
483
00:49:08,560 --> 00:49:19,200
roles? Sure. Yeah. I would also add teching to that, man. That was a big part of how I got my foot in
484
00:49:19,200 --> 00:49:25,840
the door and got to meet people and they got to get along with my personality. That was huge. Like
485
00:49:25,840 --> 00:49:32,480
checking for money long and doing kit builds for RJ Kelly for American Idol. Like those moments
486
00:49:33,200 --> 00:49:37,760
of, and a lot of that stuff wasn't paid. I just wanted to figure out a way to get in the room.
487
00:49:37,760 --> 00:49:44,960
Yes. And let people know like I exist and hope you like me, you know, like truly I hope you like me.
488
00:49:44,960 --> 00:49:49,520
Yeah. But it definitely comes into play, man. Like I originally got my first,
489
00:49:51,120 --> 00:49:58,640
I would say my first professional gig with DJ was me on playback. It wasn't on drums. Right. Actually,
490
00:49:58,640 --> 00:50:03,600
you know what? I'm lying to you. My first major gig with DJ was on drums was for Jordan, but he
491
00:50:03,600 --> 00:50:10,560
wasn't there. I actually just finished the tour, got a text from him asking if I was available for
492
00:50:10,560 --> 00:50:13,280
some dates. Didn't even know who it was for. I was like, yeah, I'm actually on the way back home
493
00:50:13,280 --> 00:50:20,320
right now. I think it was like two days later, the gig was, and I just got an email, like what the
494
00:50:20,320 --> 00:50:25,840
artist, what was going on. And then this is what's happening. But real example of like being prepared
495
00:50:25,840 --> 00:50:33,120
is originally that show was always supposed to be an acoustic show with me on like trap percussion
496
00:50:33,120 --> 00:50:41,760
and like little chill stuff and a guitarist on acoustic guitar. Right. But okay, cool. You know
497
00:50:41,760 --> 00:50:46,800
what I mean? At a stadium, I was like, that seems a little wild to me, but cool. That's what they're
498
00:50:46,800 --> 00:50:53,120
asking for. Let's get it. Sure. And then the day before we get an email saying, Hey, we realized
499
00:50:53,120 --> 00:50:59,680
what this event was is actually a little bit bigger. Do you guys mind sitting a writer to
500
00:50:59,680 --> 00:51:07,520
actually do a full on performance and Jarvis, do you mind running back in tracks? Okay. You know,
501
00:51:07,520 --> 00:51:13,840
but knowing playback, I had already built a session for me to learn. So that's actually how
502
00:51:13,840 --> 00:51:18,400
I learned things is I take MP3s and I throw them into Ableton and I build a session out just because
503
00:51:18,400 --> 00:51:23,440
my brain, like, this is how I think. But I already done it. So I was like, yeah, let's get it. All I
504
00:51:23,440 --> 00:51:27,200
had to do was put in, you know, some actual like real markers and make sure I can navigate it. If
505
00:51:27,200 --> 00:51:33,920
something goes south. Right. But having the skill set to even build a session and balance tracks
506
00:51:33,920 --> 00:51:38,160
out and understand how the outputs are and be able to send over, you know, an Excel sheet or a
507
00:51:38,160 --> 00:51:43,440
document over to have all the inputs and all that good stuff sorted and speaking the lingo. It's
508
00:51:43,440 --> 00:51:48,960
like not having that playback capability. I probably could have done that gig and then it
509
00:51:48,960 --> 00:51:56,880
would have been a disaster in real time. Yep. Doing that gig. So yeah. Yeah, definitely. I'm
510
00:51:56,880 --> 00:52:04,160
multiple skill sets matter. I would definitely say most people I know who are working professionals
511
00:52:04,160 --> 00:52:13,920
do more than one thing. Oh, yeah. And well. Yes. Like really well. Yeah. What advice would you give
512
00:52:13,920 --> 00:52:18,560
to other musicians who want to diversify their skills and work in various roles in the music
513
00:52:18,560 --> 00:52:24,480
industry? You know, you mentioned teching, all of course, all the the musician roles that you're
514
00:52:24,480 --> 00:52:32,960
occupying, playback, MD, etc. Sure. I'll start by saying there's just three reasons why you're not
515
00:52:32,960 --> 00:52:39,280
working. It's your skill set slash talent. You know, do you have the skills you equip with all
516
00:52:39,280 --> 00:52:44,960
the right things to be on your instrument or playback or whatever you're doing professionally?
517
00:52:44,960 --> 00:52:52,160
Do you have the skills to do the job? The second one is your network. Do people know you have those
518
00:52:52,160 --> 00:52:56,800
skills? Have they seen you do those skills? Do they trust that you actually have those skills? And then
519
00:52:57,440 --> 00:53:00,800
do you know the people that are going to employ the people who need that skill set?
520
00:53:01,600 --> 00:53:07,520
And the third one is being a good person. I don't know anyone who has all three of those things.
521
00:53:07,520 --> 00:53:12,160
It's not working. I just don't think it's a real thing. If you're missing one of those things,
522
00:53:12,160 --> 00:53:16,320
I can understand where you're not working. If you're an asshole, but really talented and you
523
00:53:16,320 --> 00:53:19,680
know all the right people, well, it doesn't matter because no one wants to be around you.
524
00:53:19,680 --> 00:53:24,880
You're not going to work. You can be a really cool person with a great skill set, but if no one knows
525
00:53:24,880 --> 00:53:30,000
you, they ain't calling it because I don't know you exist on the earth. Yes. You know, and you
526
00:53:30,000 --> 00:53:34,800
could be a really cool person with a great network, but you're not skilled enough to get calls. Full
527
00:53:34,800 --> 00:53:42,080
transparency. I wasn't always getting calls to do things. And my friends are my friends, like
528
00:53:42,080 --> 00:53:46,400
straight up. I just named two of my really good friends, DJ and John Witt. They are a call for a
529
00:53:46,400 --> 00:53:52,720
lot of major things and that's to play and also put things together. Yep. You got to ask yourself
530
00:53:53,280 --> 00:53:57,840
if your best friends are doing certain things and they're not calling you, why not?
531
00:53:59,600 --> 00:54:02,640
You got to really be honest with yourself and then also be
532
00:54:03,680 --> 00:54:07,040
smart enough to know that you can't ask this question of like, put me on.
533
00:54:07,920 --> 00:54:12,400
I asked the question of, yo, who are your favorite drummers and what do they bring to the table that
534
00:54:12,400 --> 00:54:19,680
makes you feel good about calling them? And once I figured that out, I quickly realized I didn't have
535
00:54:19,680 --> 00:54:24,720
the things you needed to trust me. It wasn't that you didn't trust me as a friend. Wasn't that you
536
00:54:24,720 --> 00:54:29,360
didn't know I existed. It doesn't mean that you didn't know I wasn't going to say something crazy
537
00:54:29,360 --> 00:54:34,480
in front of this female artist or some management. It wasn't any of that. It's like, I couldn't do
538
00:54:34,480 --> 00:54:40,240
the job straight up. So like I said, it's just those three things. So it doesn't matter if you
539
00:54:40,240 --> 00:54:43,920
have a good network and a good person with those skills. You need all three to work.
540
00:54:46,320 --> 00:54:48,560
Can I ask you what you did in that situation?
541
00:54:49,840 --> 00:54:57,600
Dude, I went into the shed, bro. I went and locked in for a long time, but I also didn't have a backup
542
00:54:57,600 --> 00:55:03,120
plan. So that's also when I got into teching. I got a situation where it was like, let me call
543
00:55:03,120 --> 00:55:08,160
my drum homies. Because once again, I have friends and I could set up drums. I tuned drums like no
544
00:55:08,160 --> 00:55:13,600
one's business. I could do that. So let me get into the door. And in the meantime, I'm meeting
545
00:55:13,600 --> 00:55:21,040
the MDs, blah, blah, blah. But I'm also getting a real time to see how Deshaun Allen approaches
546
00:55:21,040 --> 00:55:28,800
money long. I get a real sense of I can see RJ playing this show and be like, oh crap, I don't
547
00:55:28,800 --> 00:55:33,440
think I could do that. Cool. But I'm clocking how you're approaching it. I'm clocking how people
548
00:55:33,440 --> 00:55:38,320
are talking to you. And I'm like, got it. I see why you wouldn't call me. Because if you had made
549
00:55:38,320 --> 00:55:43,920
a change to me in that moment, I would have missed that every time because I wasn't thinking that.
550
00:55:45,360 --> 00:55:50,960
So yeah, that's what I did, bro. I dove into those drummers that I was told,
551
00:55:52,400 --> 00:55:59,440
listened to what they did. I booked a consultation with Tony Rooster Jr. I booked a consultation
552
00:55:59,440 --> 00:56:06,880
with Brian Fraser Moore. I took lessons with Ray Marshall Jr. I asked questions and sent clips
553
00:56:06,880 --> 00:56:12,000
to my friends like, yo, when you get time, do you mind taking a look and taking a listen about
554
00:56:12,000 --> 00:56:16,000
what do you think? And getting response back like, oh, you thought that was good, didn't you?
555
00:56:16,720 --> 00:56:22,240
Cool. Go redo that. Getting advice like everything you need is in the song. Listen to the song.
556
00:56:23,040 --> 00:56:27,760
You know, still not employing me, but they're definitely being able to see progress in real
557
00:56:27,760 --> 00:56:36,480
time or not. Yes. And letting them know that you're interested and dedicated to making the
558
00:56:36,480 --> 00:56:44,240
next steps as well. Bro, absolutely. And that's major, man. Like, DJ and I went to dinner with Zach
559
00:56:44,240 --> 00:56:49,680
right after Lollapalooza. And that was one of the things he said. He's like, bro, I've had multiple
560
00:56:49,680 --> 00:56:55,680
conversations about you. Just on how dedicated you are about being good and being the best at
561
00:56:55,680 --> 00:57:00,560
what you're doing and you listen. He's like, that to us is everything more of just like someone with
562
00:57:00,560 --> 00:57:05,440
crazy work ethic. He's like, you being a good hang was always easy. That was never the problem.
563
00:57:06,160 --> 00:57:09,600
It's like now that we see you're equipped and you're hungry and you're wanting to work with us,
564
00:57:09,600 --> 00:57:14,480
bro, it's like we're having conversations about you. Like, I'm blessed enough to be in conversations
565
00:57:14,480 --> 00:57:18,800
where they were trying to figure out where they went to send me, not if they were going to send
566
00:57:18,800 --> 00:57:24,640
me where they needed. Yes. So hearing that, and I didn't know any of that, I'm just,
567
00:57:24,640 --> 00:57:29,440
I'm in the grind mode and I'm still in grimoire. Like I'm bro. I can't wait to go back and shed.
568
00:57:29,440 --> 00:57:36,800
Like we're locked. Yes. But those things matter, man. And when your friends like John sent me a
569
00:57:36,800 --> 00:57:40,960
message one time and I hope it's OK that I share this, but he was like, I've hesitated sending this
570
00:57:40,960 --> 00:57:45,600
message for you because I don't want you to let up. But how you're approaching things and you're
571
00:57:45,600 --> 00:57:52,560
playing has been really, really good. And then he referred me out to do some stuff too. And I was
572
00:57:52,560 --> 00:57:58,800
like, wow, this is a blessing. Now you're getting your best friend who also you look so greatly up
573
00:57:58,800 --> 00:58:05,040
to. Yes. Feels comfortable throwing your name in a hat for things. And obviously no guarantee,
574
00:58:05,040 --> 00:58:08,640
but it's just like, I feel comfortable throwing your name in the hat that if you do get the job,
575
00:58:08,640 --> 00:58:14,000
you're not going to let me down and embarrass me. Awesome. You know, that that means the world to me
576
00:58:14,720 --> 00:58:20,880
in those moments. So that's what I did. I got in the shed, man, and let them know that I was
577
00:58:20,880 --> 00:58:29,840
listening. Yeah. And it's really important because they also see that they're important to you.
578
00:58:29,840 --> 00:58:37,360
You know, it's a relationship and it's a two way relationship. And it's really great. I want to ask
579
00:58:37,360 --> 00:58:42,000
you a specific question that may be a little inside for drummers here, but how do you see the
580
00:58:42,000 --> 00:58:49,600
role of live drumming evolving? You know, I want to ask you this because knowing that you're not
581
00:58:49,600 --> 00:58:56,320
necessarily coming from the gospel scene inside, you know, I'm seeing myself that the gospel,
582
00:58:56,320 --> 00:59:04,560
the gospel vocabulary in drumming is so present in live pop music right now. How are you seeing
583
00:59:04,560 --> 00:59:12,160
the live drummer role evolving at the moment? Oh, man, I think.
584
00:59:15,120 --> 00:59:19,280
I'm going to answer this as a person who has a seat and then that person that's like witnessing
585
00:59:19,280 --> 00:59:26,560
kind of the ecosystem of drumming. Yeah. I think there's a lot of incredible drummers
586
00:59:27,280 --> 00:59:34,240
and I mean, absolutely incredible in their kids, you know, 13, 14, 15, 16 that are blazing. I'm
587
00:59:34,240 --> 00:59:41,520
like, I couldn't do any of those chops. So I think that's a beautiful thing because they're
588
00:59:41,520 --> 00:59:47,040
going to keep pushing the envelope. You know, they're going to really go for it in terms of
589
00:59:47,040 --> 00:59:53,200
pushing the skills that are on drums and all this other stuff in terms of just what I think
590
00:59:53,920 --> 01:00:00,000
people should do to prepare to be a professional drummer. I think hybrid drumming is an absolute
591
01:00:00,000 --> 01:00:07,280
must. Yes. You're seeing it in genres that you use it and see it in. You're seeing it in rock.
592
01:00:07,280 --> 01:00:14,960
You're seeing it in punk music. You're hearing it in country music. You know, there's a lot of
593
01:00:14,960 --> 01:00:20,240
people who are really incorporating electronics because they want, we're at the technology point
594
01:00:20,240 --> 01:00:24,720
where we can make the record still selling the record now live. You didn't always have that
595
01:00:24,720 --> 01:00:31,440
option or years ago it could translate live because it was live musicians that played it.
596
01:00:32,160 --> 01:00:37,440
You know, it was that aspect and they had brought a whole band down, but we were in this era now
597
01:00:37,440 --> 01:00:41,520
where a lot of it is a producer or multiple producers who are sending files back and forth
598
01:00:41,520 --> 01:00:47,360
with different samples and different cuts and blah, blah, blah. It's not live. So in order for
599
01:00:47,360 --> 01:00:51,840
you to keep your job, you have to figure out a way to make sure you can make this record sound
600
01:00:51,840 --> 01:00:58,720
like the actual record while still being a drummer. Yes. That's the job. And there's a lot of things
601
01:00:58,720 --> 01:01:06,000
like most verses and Tate's music. I'm playing electronics only. Yeah. There's not any live
602
01:01:06,000 --> 01:01:09,600
anything. It might be a hi hat joint or a little splash action that kind of acts in something,
603
01:01:09,600 --> 01:01:14,320
but everything else is all triggers. My kick always has a trigger on it. I would say most
604
01:01:14,320 --> 01:01:20,000
of my snares have triggers on them. There's e kicks. There's samples that I have to hit. There's
605
01:01:20,000 --> 01:01:25,600
things that you have to do because if I didn't do that, well, live drums don't need to be in
606
01:01:25,600 --> 01:01:30,720
this part. So what do you do? Sit here. You can't just do this. And it's like, oh yeah,
607
01:01:30,720 --> 01:01:38,560
I'll play now. No, no, no. You got to do something, bro. So yeah, I would say that's where it is. If
608
01:01:38,560 --> 01:01:43,360
you're not hip to your electronics, get hit, love hip to your electronics. And it doesn't matter
609
01:01:43,360 --> 01:01:49,040
what you use. Well, I'll use that loosely. It does matter what you use, but to get started,
610
01:01:49,040 --> 01:01:55,280
the fundamentals of it is always going to be the same. If you have an old SPD, yes, cool. Use that.
611
01:01:55,280 --> 01:02:01,040
If that's what's accessible for you, if you have the Essex, use that the pro use that the T 50 T
612
01:02:01,040 --> 01:02:07,920
like whatever you have the Yamaha DTX, like if you have something to get incorporated and start
613
01:02:07,920 --> 01:02:12,720
messing with the concepts and figuring out, oh crap, I can't play this fill like this anymore
614
01:02:12,720 --> 01:02:17,920
because there's a kick sample here that doesn't sound good. If I start chopping quickly, I have
615
01:02:17,920 --> 01:02:23,280
a snare sample or my snare. Like I can't actually move it because the clap you can't go back it up.
616
01:02:23,280 --> 01:02:28,240
I got it. Like what are you doing? You can't do that because you have a snare. But if you can get
617
01:02:28,240 --> 01:02:33,280
that concept before you go into a real room and get a real call, you're already going to know how
618
01:02:33,280 --> 01:02:38,800
to fill while still playing the part. Yeah. You know, so I think that's where drumming is heading.
619
01:02:38,800 --> 01:02:44,400
It's like getting your hybrid. Fantastic. The two and the four, man.
620
01:02:47,520 --> 01:02:53,280
Stay there. If you can make that thing feel good, you'll be working brother. There you go.
621
01:02:55,280 --> 01:03:00,480
In what ways has your work with major musicians and just your work just generally impacted your
622
01:03:00,480 --> 01:03:09,200
personal growth, both as a musician and a person? Oh, man, majorly, because I don't, I don't know.
623
01:03:11,600 --> 01:03:15,600
I know them, but there's not a lot of them that I associate with all the time that
624
01:03:16,400 --> 01:03:23,440
aren't really, really good people and good with business, good with people, good with their
625
01:03:23,440 --> 01:03:29,600
children, good with their wives, good with their husbands. Like I just don't know that to be true.
626
01:03:29,600 --> 01:03:36,800
So once again, it's like if you millionaires don't hang out with thousandaires, they may have one or
627
01:03:36,800 --> 01:03:40,720
two friends from childhood, like childhood, but they usually associate with people who are like
628
01:03:40,720 --> 01:03:45,040
minded, who are going to push the envelope. Billionaires aren't going to be a friend,
629
01:03:45,040 --> 01:03:48,080
you know, a person in poverty doesn't mean they don't know them. Doesn't mean they're going to
630
01:03:48,080 --> 01:03:52,000
disrespect them. It's like, but we don't think the same. We don't move the same in our goals.
631
01:03:52,000 --> 01:03:59,280
Clearly aren't the same right now, whether you're at. So you, if you're aware of those things,
632
01:03:59,280 --> 01:04:03,600
socially, it's like, well, do you want to keep being in the conversation? The answer is yes.
633
01:04:04,400 --> 01:04:08,400
So you need to kind of move how they're moving, as long as it doesn't compromise what you do
634
01:04:08,400 --> 01:04:12,880
morally, right? There's definitely people who do things that are immoral and cool. You can stay
635
01:04:12,880 --> 01:04:18,960
away from that because that's up to you and God to have that conversation. But you do have your
636
01:04:18,960 --> 01:04:23,920
friends who are buying homes. And if you have friends who have homes, they also want friends
637
01:04:23,920 --> 01:04:30,640
to have homes, right? It's naturally what they want. They don't want you to be poor and have,
638
01:04:30,640 --> 01:04:34,160
you know, 1500 roommates. Not that they're not empathetic to you living in Los Angeles and
639
01:04:34,160 --> 01:04:38,240
having to rent, but they're definitely still going to challenge you to like, oh, are you
640
01:04:38,240 --> 01:04:42,480
considering buying now? Like where are you at? Right. If your friends are married, they're not
641
01:04:42,480 --> 01:04:47,120
going to see their homeboy out here, just conquering and pillaging as they go along. They want you to
642
01:04:47,120 --> 01:04:53,280
settle down. They want you to be a part of their ecosystem of like, oh, we're keeping things chill
643
01:04:53,280 --> 01:04:59,280
and wholesome around here. We just happen to be really good at our instruments. Right. But overall,
644
01:04:59,280 --> 01:05:04,080
we want to do family vacations and we like our kids and we like our wives and we like our husbands.
645
01:05:04,080 --> 01:05:09,360
And it's like, this is where we're at. So if you're just want to do drugs and all this other stuff,
646
01:05:09,360 --> 01:05:17,680
that's cool, bro. Go do that. But you can't come around here doing that. So when you realize that
647
01:05:17,680 --> 01:05:24,000
the A-list musicians for the most part are moving that way, you don't have a choice. You know,
648
01:05:24,000 --> 01:05:28,800
by default you either have to rise to it or they're not going to bring you along for the
649
01:05:28,800 --> 01:05:33,760
journey because you don't think the same. You're not moving the same. Like you're buying nice clothes
650
01:05:33,760 --> 01:05:39,760
instead of buying a home. Not saying there's anything wrong with buying clothes, but if you're
651
01:05:39,760 --> 01:05:45,520
spending all your money on your car and then you go drive that nice car and you've got 16 roommates,
652
01:05:45,520 --> 01:05:50,800
your priorities are messed up. That's why we're not thinking the same. It's not really about what
653
01:05:50,800 --> 01:05:54,960
you have. It's about what you're doing with what you have and how you're navigating this. It allows
654
01:05:54,960 --> 01:06:03,120
us to be like, I could build you up and I could bring you around or not. So yeah, it's changed my
655
01:06:03,120 --> 01:06:07,920
whole life, man. First time for this year, I've actually journaled out what I wanted to do,
656
01:06:09,440 --> 01:06:13,760
really focused on what I wanted to do. I've changed my wallpaper, my background to be
657
01:06:13,760 --> 01:06:20,000
intentional. I've unfollowed a bunch of accounts, I've unfollowed a bunch of people and nothing
658
01:06:20,000 --> 01:06:28,720
personal to them. It's just like what you consume all the time starts to become your reality. So to
659
01:06:28,720 --> 01:06:35,600
me, I'm like, we started out, NFP had this thing, DJ once again, fearless leader, sent in a mass text
660
01:06:35,600 --> 01:06:41,600
everyone top of the year just saying, this is what I'm trying to do. I'm trying to eat clean. This is
661
01:06:41,600 --> 01:06:44,880
the kind of the parameters of what we did for this challenge, which is a beautiful thing.
662
01:06:44,880 --> 01:06:50,560
And he extended it out to a bunch of different people in different camps and whatever.
663
01:06:51,760 --> 01:06:57,600
But he quickly started removing people from the group. And it wasn't that he doesn't like them.
664
01:06:57,600 --> 01:07:03,040
It doesn't that he didn't care for them. It doesn't mean he doesn't want them to do whatever,
665
01:07:03,040 --> 01:07:08,400
but he wanted people around him that are going to make sure he's held accountable for eating well
666
01:07:08,400 --> 01:07:13,440
and going to the gym. And did you read the Bible today? It's like, did you pray today? It's like,
667
01:07:13,440 --> 01:07:16,960
he wants those people around him right now. Once again, not saying that those people who
668
01:07:16,960 --> 01:07:20,800
didn't do the thing don't mean anything to him because he does not feel that way at all.
669
01:07:21,520 --> 01:07:26,960
But when you're trying to move as a unit, you're not going to be an alcoholic and hang out a bunch
670
01:07:26,960 --> 01:07:31,680
of alcoholics. You're going to hang out with people who are sober. If you're God fearing,
671
01:07:31,680 --> 01:07:34,800
you're not going to hang out a bunch of degenerates because you're worried about answering to God.
672
01:07:34,800 --> 01:07:38,560
If you want to be an A-list musician, well, I'm not going to do things that would make you not
673
01:07:38,560 --> 01:07:42,640
want to call me and not practice to do all these things. I'm going to make sure I'm moving the way
674
01:07:42,640 --> 01:07:48,400
these A-list musicians are. So like I said, most of them are really good men, really good women,
675
01:07:49,040 --> 01:07:56,960
move with love and genuineness. Do we have flaws? Duh. But they're moving with a certain
676
01:07:58,320 --> 01:08:03,280
poise that you find yourself wanting to yearn and be connected with. And you want to be in
677
01:08:03,280 --> 01:08:08,000
a conversation where people are like Jarvis and people are like, oh, I love that dude.
678
01:08:09,280 --> 01:08:14,480
Great. You know, like that's all I want. Yes. If you love what I play, that's cool too. But
679
01:08:14,480 --> 01:08:19,280
as long as you're like, yo, Jarvis is a cool dude, like always help me out or would always speak to
680
01:08:19,280 --> 01:08:25,440
me. You could ask anyone on the crew. I never walked past anyone. Yeah. You, I always addressed
681
01:08:25,440 --> 01:08:29,440
him. I will go into the room. I'll talk to him. Not because I feel like I'm obligated to. I think
682
01:08:29,440 --> 01:08:34,080
this is the right thing to do. And they're really cool fucking people. Right. Just got to talk to
683
01:08:34,080 --> 01:08:40,080
them. Yeah. So yeah, I would say overall it's changed everything. Yeah. 100%.
684
01:08:41,680 --> 01:08:46,160
What's one piece of advice you'd give to your younger self just starting out in the music industry?
685
01:08:52,080 --> 01:08:52,800
Listen more.
686
01:08:52,800 --> 01:08:58,560
Forget everything you know, because most people don't have it figured out.
687
01:09:01,920 --> 01:09:07,440
And the more I do it and the more I see how the magic is done, bro, we're all figuring it out.
688
01:09:08,000 --> 01:09:11,760
No one is like, I haven't figured out. They have systems that they know for sure.
689
01:09:11,760 --> 01:09:17,680
Right. But bro, when we get these notes back from creative and it's like, you want what?
690
01:09:17,680 --> 01:09:23,200
Okay. You know, and then you figure it out. Are you like, okay, crap, I can't figure it out.
691
01:09:23,200 --> 01:09:29,280
Let me call my homie. Hey, you hear something? Because I don't know. Right. Like, so yeah,
692
01:09:29,280 --> 01:09:37,440
forget everything, you know, and listen more, because the more you listen and not have a
693
01:09:37,440 --> 01:09:43,200
emotional response to things, I think you're a lot more sound. I think you're a lot more
694
01:09:43,200 --> 01:09:48,240
sound with the information that you're receiving when you're so eager to respond.
695
01:09:49,040 --> 01:09:52,000
That puts you in a spot where you're definitely going to miss information.
696
01:09:53,920 --> 01:09:58,240
And it's translating that to music. It's like, if you listen to a song and you immediately start
697
01:09:58,240 --> 01:10:03,200
playing, you've missed the whole song. You don't know that record. You might have maybe
698
01:10:03,200 --> 01:10:08,480
the general gist or whatever, but you missed the pattern. You didn't hear those backgrounds.
699
01:10:08,480 --> 01:10:11,920
You didn't hear the music. You didn't hear the music. You didn't hear the music. You didn't
700
01:10:11,920 --> 01:10:17,680
hear those backgrounds. You didn't know that lead line came in. You don't know the song,
701
01:10:17,680 --> 01:10:23,280
whatever. But if you take one or two passes to actually listen to the song, okay, cool.
702
01:10:23,280 --> 01:10:29,200
They're singing about this, so I need to have a feeling of grunginess with this if I need to.
703
01:10:29,200 --> 01:10:33,600
I need to have a feeling of, oh, this needs to be uplifting and your fills are going to
704
01:10:33,600 --> 01:10:38,000
translate that way. Cool. So now you understand the essence. Now you start diving into actually
705
01:10:38,000 --> 01:10:43,440
learning the song. It's like, oh, those high hats aren't just up. There is an accent on that.
706
01:10:44,000 --> 01:10:50,320
Or the action is every third. Listen more and not be so eager to respond,
707
01:10:50,320 --> 01:10:56,160
AKA play right away. Listen, then understand what's happening and then attempt to play.
708
01:10:58,160 --> 01:11:03,280
Fantastic. I just wanted to ask you one last question before we dive into the game.
709
01:11:03,280 --> 01:11:12,640
What's the dream? To always be in valuable assets to my friends and to make God proud.
710
01:11:13,200 --> 01:11:18,320
God proud is number one. I have a huge fear of when I die, God saying this is what you could have
711
01:11:18,320 --> 01:11:28,880
been. Major fear of that. But while here on earth, yeah, always being the asset to my friends. I
712
01:11:28,880 --> 01:11:39,280
never want them to not be able to challenge my views, my ideas, my thoughts, my physicality.
713
01:11:39,280 --> 01:11:42,960
I don't want them to ever feel like they can't call me for an answer for something.
714
01:11:43,600 --> 01:11:47,360
I don't want them to feel like they can't call me to just scream if they need to. I don't want
715
01:11:47,360 --> 01:11:51,520
them to feel that they can't call me to say, I hate my wife, but I love my wife right now.
716
01:11:52,000 --> 01:11:57,360
But she's getting on my fucking nerves and trust that I'm going to give him sound advice.
717
01:11:57,360 --> 01:12:04,880
To be like, Hey, you love her, right? Cool. So why don't you come over? You can yell at me.
718
01:12:04,880 --> 01:12:11,120
Let's get you okay. And you can't bring any of that tension back to your wife. Cool. I want you
719
01:12:11,120 --> 01:12:16,640
to have that comfortability to pick up the phone and trust that because bro, there's a shelf life
720
01:12:16,640 --> 01:12:20,400
on what we do with music. I don't care what anyone says. There's a shelf life on it,
721
01:12:20,960 --> 01:12:25,440
but our relationships, I think are the things that last forever and the impact that we have
722
01:12:25,440 --> 01:12:32,480
on individuals will last forever. So that's the dream. The dream is to be a valuable player
723
01:12:33,120 --> 01:12:42,960
in my friend's lives. Beautifully said, man. Fantastic. Thank you. That's how we sort of
724
01:12:42,960 --> 01:12:48,080
wrap it up. But before we go, I want to do a little game with you for those listening. Maybe
725
01:12:48,080 --> 01:12:52,640
it's your first time. Hopefully it's not the last time you listen to this podcast.
726
01:12:52,640 --> 01:12:55,840
We're this week, we're playing the dream fest game, which is basically giving our guests this
727
01:12:55,840 --> 01:13:03,360
week is Jarvis, the chance to basically design their own festival from the basically like creative
728
01:13:03,360 --> 01:13:10,560
director's chair. So I basically, I basically asked my guests, who would be playing at this festival,
729
01:13:11,280 --> 01:13:17,280
where it would be when, like as in time of year, the era so as it could be, you know,
730
01:13:17,280 --> 01:13:20,720
could be in the sixties, it could be now, it could be in the future, it could be in the
731
01:13:20,720 --> 01:13:23,920
sixties, it could be now, it could be in the future, whatever, whatever they want.
732
01:13:25,200 --> 01:13:29,600
How would how they would put their signature on this festival as the creative director.
733
01:13:30,160 --> 01:13:35,200
And if there was one food or beverage that they'd serve that would best represent my guest,
734
01:13:35,920 --> 01:13:43,120
what would it be? So this week we have Jarvis Barnes on the pod. Jarvis, where would you want
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to start with this dream festival? Oh, my word. This is so loaded. And I hope that this is on some
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like dream of Harry Potter magic wand energy. Because as soon as I list this list, we're going
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to like, you can't afford this. No shit. Without any budgets in mind, it can also be dead or alive.
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I don't know if that makes it easy. Stop. Oh, game time. Let's go.
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01:14:08,080 --> 01:14:14,560
Oh, OK. Ultimate Festival would definitely have to be somewhere in the States.
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01:14:15,120 --> 01:14:21,680
Yeah, I would say a place like Chicago or Nashville, somewhere homey. Yeah. Yeah.
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That has good energy around it. L.A. is cool, but it definitely has like some
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some energies here that aren't always ideal. Sure.
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And then line up all my days. Michael Jackson. Yeah, let's get three. Let's get three. Let's get
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three. Michael Jackson. Yeah. Rihanna is coming back.
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Shout out Adam Blackstone. Yeah, like Rihanna's definitely got to be up and then.
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Oh, my gosh. If you want to paralyze the whole world, throw like Beyonce and Jay-Z collab in there.
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I'd add more. I feel like you got a lot more. Oh, bro. Of course. But what's like
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old school sections for like Earth, Wind and Fire, Kool and the Gang? Yes. Make a whole section of
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like real music of this like I already like musicians music of this like Dave Matthews band
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and John Mayer locked in over there. Like, are you kidding me? Oh, that'd be so crazy. And then
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throw like the pop star like section into that, like Taylor and Sabrina and, you know, Tate.
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Oh, my God. Ariana Grande throwing. Oh, my days. And then you get into this like.
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Oh, my. This could be out of control. You guys don't have a budget for this.
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01:15:47,280 --> 01:15:55,120
No, no, no. Zero budget. And you mentioned you mentioned the city, but if there would be like
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if there would be like one sort of venue, let's say you could bring that venue to that city,
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what would it be? Oh, it's got to be.
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I don't know. I don't know if you could hold this.
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If you want to make the nostalgic part of it, I guess you could do something like
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the form or like the Staples Center, that kind of like energy. You just wouldn't be able to
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facilitate the festival. What I just lined up. Yeah, it is.
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01:16:27,120 --> 01:16:34,080
Those tickets would be crazy expensive, bro. Or not. Or not. Or not. The dream is hosted in like
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this crazy farmland or just like open this and just like, oh, boy, MJ, you would definitely need
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something that could hold a million. That's crazy.
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01:16:45,840 --> 01:16:50,560
Oh, that in itself would shut down the festival.
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01:16:53,200 --> 01:16:58,720
If there was one food or beverage that you'd serve that would best represent you as a fun question,
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what would it be? So full, baby.
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01:17:02,320 --> 01:17:04,640
There you go. Easy work, bro.
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01:17:05,520 --> 01:17:09,120
Easy work. Well, those tickets are going on sale next week.
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If that happens, I need full creative control. Yeah. How would you put your signature on the
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festival? What would be unique about it in the Jeb way?
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I would force people's hands to let me just like control their set list
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because I would have the most brilliant minds. The ultimate dream of mine is to put the most
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01:17:37,360 --> 01:17:44,640
brilliant minds in the room and to say, design a show. Legitimately, no budget. You take people
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like Derek Cobbs, DJ John Witt, Chris Pooley, Adam Blackstone, T-Von, Paul Merknevich. Take
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all these iconic names and they can each get their own names and they can each get their own
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01:17:57,440 --> 01:18:05,280
programmer. Here is an extended amount of budget. Make magic. Yeah. Like go crazy. You guys have two
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weeks. Like I cleared you guys' schedules. Everyone's free. They're locked into the studio
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or multiples. Like, let's go. Like, oh, that'd be so insane. Because it would be all the right choices.
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Hard from behind. Like, I'm going to be like, I'm going to be like, I'm going to be like,
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like, hard from Bieber. Just put all the right people in the room with all the keyboards and
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01:18:34,000 --> 01:18:43,920
stuff that they need. Go. See you guys in two weeks. Yeah. See you, Ben. I mean, yeah, if that
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01:18:43,920 --> 01:18:51,040
could happen, you know, I don't know if I'd be doing this anymore. I would just be saving up for
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01:18:51,040 --> 01:18:57,680
it. Whatever show that is, is going to be the most magical thing that has ever happened.
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01:18:57,680 --> 01:19:02,960
Yeah. Somebody just give me a budget, like a million dollars to arrange your show.
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01:19:04,240 --> 01:19:10,800
Fantastic. Well, that's really how we end this week's episode. Thanks Jarvis for coming on.
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01:19:10,800 --> 01:19:14,400
Of course. I appreciate you having me, man. Appreciate it.
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01:19:14,400 --> 01:19:21,360
Today we had the absolute pleasure of hearing from Jarvis Jeb Barnes, an exceptional drummer,
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playback engineer, keyboard player, tech consultant in the music industry. I mean,
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there's so many roles and titles that this man has and it's so great to hear from him.
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Our chat is just a testament to what it takes to make it in today's music industry throughout his
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01:19:41,200 --> 01:19:46,640
many roles, throughout his many relationships that he has. Just hearing him talk about all
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01:19:46,640 --> 01:19:51,440
these different connections and different camps and how all these different camps work was
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01:19:51,440 --> 01:19:59,520
exceptional. It just really shows to what extent being a good person and a good man is and having
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01:20:03,200 --> 01:20:08,720
your priorities at the right place. I think that that's what I personally take from this episode.
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01:20:08,720 --> 01:20:13,760
It's where are you at? Where are your peers at? And how can you grow together?
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01:20:13,760 --> 01:20:19,760
And it was such an exceptional episode. To our listeners, you can follow Jarvis on social media
797
01:20:19,760 --> 01:20:27,520
to keep up with his latest project and his latest tours. His Instagram and social handle is Jarvis
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01:20:27,520 --> 01:20:40,240
Jeb. Thank you for tuning in, everybody. Please like, comment, share, subscribe, do whatever you
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01:20:40,240 --> 01:20:47,680
need to do to keep in touch with us as we bring you content in the behind the scenes of the music
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01:20:47,680 --> 01:20:53,120
industry every week. Also, don't forget to join our vibrant community on the AIDs Network Discord,
801
01:20:53,120 --> 01:20:58,080
where you can connect with like minded individuals to learn more a little bit about what's going on
802
01:20:59,120 --> 01:21:03,840
in the industry, in the community, and where you can link up with a bunch of your peers.
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01:21:03,840 --> 01:21:23,920
Thanks, everybody. Stay safe and see you next week. Bye.
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01:21:33,840 --> 01:21:34,160
Bye.