Behind the scenes of Gorillaz and The Prodigy’s explosive shows sits Tom “Woody” Wood—one of live music’s most respected drum techs. This story reveals how he climbed the music industry ladder, step by step. “It’s about making your own luck,” he underscores. Working with Karl Vanden Bossche, Jaega McKenna-Gordon, and Leo Crabtree, Woody keeps world-class rhythm sections performing at their best across demanding global tours. It’s a remarkable full-circle journey: from a 10-year-old Woody jumping around his bedroom to Gorillaz’s debut album, to helping deliver those very same songs on some of the international circuit’s biggest stages. Want to become a professional tech? Read this.
Creative Connections
The foundations of Woody’s career were laid at Bell Music in London, where he developed deep product knowledge and built relationships within a thriving community of musicians. Music shops offer rare first-hand experience with countless instruments and foster personal connections that have a lasting impact. The significance of those moments is often revealed years later.
Like many occupations in creative industries, tech work has a catch-22: experience is needed for jobs, yet jobs are needed for experience. So, what’s the answer? Early on, Woody got ahead by freely offering his skills to friend Kodi Bramble and fellow artists including Vant, The Amazons, and Black Peaks. Those formative gigs proved his ability and gave him real confidence. Slowly and steadily, the industry started noticing.
While drumming with his own band, Beasts, Woody discovered that his place in music didn’t have to end when he stepped away from the kit. Inspired by life on the road, he envisioned a rewarding future as a tech. With focus, determination, and a willingness to put himself forward, he began carving out a path—including approaching Craig David’s production manager.
Opportunity Knocks
It could have led nowhere, but two months later, Woody got the call he had been hoping for: Craig David needed a drum tech. Suddenly, his first pro gig was on. There was just one problem: his diary said he wasn’t available. Regardless, he made himself available. He had to. It was simply too good a chance to miss.
That breakthrough became the springboard for an extraordinary run with Liam Payne, a-ha, The 1975, and Bombay Bicycle Club. Every show taught Woody something new, introduced him to crew members, and opened another door. One opportunity led to the next because people knew they could count on him. He became the person people wanted on their crew.
Woody’s rise was interrupted by COVID-19’s devastating impact on live music. It forced him to take a detour into film work for 18 months. But then, in 2021, his enduring reputation and a recommendation from a former colleague brought an unexpected offer to return to touring with Gorillaz. That career-defining moment paved the way for his ongoing roles with the animated outfit and The Prodigy.
"When I wanted to work for a band, I did everything I could to make it happen. My story is all about the journey, which means getting out and meeting people. It’s about making your own luck."
Musician’s Mindset
Woody’s background as a touring drummer gives him an instinctive understanding of what performers need when the lights go up. Combined with years of hands-on gear expertise, it allows him to contribute ideas rather than simply maintain equipment.
“Product knowledge is key,” he points out. That insight has proved invaluable when creating custom DW Drums, Roland, and Latin Percussion setups for Gorillaz’s renowned rhythm section.
Roland caught up with Woody to explore his work with Gorillaz and The Prodigy, the thinking behind Karl Vanden Bossche’s hybrid drum-and-percussion rig, Jaega McKenna-Gordon’s custom DW setup, and the unlikely route that took him from Bell Music to some of the greatest stages on the planet.
For aspiring techs, musicians, and drummers, as well as fans of Gorillaz and The Prodigy, Woody’s story offers a fascinating glimpse into the skill and dedication required to operate at the highest level.
Beasts Mode
What sparked your love of music?
I initially got into music at school. I was into a lot of different styles of music and played instruments from a young age. In secondary school, I played drums in a soul band and completely fell in love with it. I had drum lessons in years eight and nine, and picked it up quickly. From the age of 14, I was in and out of bands all the time.
In my late teens, I attended various music colleges and studied in London at Drumtech (which wasn’t a place where you learned to be a drum tech; they taught you to be a performer). I was at Drumtech [now BIMM] for a year before a mate said, “Let’s start a band,” and I ran with it.
What was your band called?
Our band was called Beasts. It was a grunge-rock three-piece, and we did fairly well with a bit of radio play. We toured and performed gigs for years, up until my mid-to-late 20s. We played major festivals and toured with some great bands.
Beasts toured around the UK, and we did some decent festivals in Europe, too. But we never really wanted to push on. It was a funny time in the music industry for rock music and alternative outfits.
"It dawned on me that there was another side of the industry to performing—one that I could really make a good career from: teching."
When did you start thinking about tech work?
Through touring and festival appearances with Beasts, I met loads of other bands and crew, and it dawned on me that there was another side of the industry to performing—one that I could really make a good career from: teching. At the time, I was trying to work out what I really wanted to do, while juggling touring with my job at a music store in Acton, London, called Bell Percussion.
Talking Shop
What was Bell Percussion all about?
Bell provided an extensive backline hire service. Their percussion rental side of things was amazing. They would hire out for performances at incredible venues like the Royal Albert Hall and the Royal Festival Hall.
Soon after I joined in February 2016, it changed its name from Bell Percussion to Bell Music and launched a rehearsal studio. The store was upstairs in one of the buildings, and downstairs, there was a large room where orchestras would rehearse. I’d also see the likes of Craig David and Gorillaz there.
How long were you at Bell Music?
I was at Bell Music for a few years and worked my way up to Assistant Manager in the shop. I initially started working evenings and weekends in the rehearsal rooms. That was a flexible part-time job that allowed me time to play in the band.
How did working at Bell Music help shape your career?
The good thing about that job was that it allowed me to stay in touch with the music industry professionally and meet lots of different people who came through. When I decided on a career, I worked full-time at the shop. That was when I really honed my instrument knowledge.
It was great being involved with the percussion side of things. That knowledge is a massive help to me now in my role as a tech because not only do I know about drums, but I’m also familiar with all sorts of weird and wonderful percussion instruments.
"Bell Music allowed me to stay in touch with the music industry professionally and meet lots of different people who came through."
What kind of weird and wonderful percussion instruments did Bell Music hire out, and who were the clients?
Bell Music had the most obscure percussion instruments and would hire them out for soundtracks. There was stuff like the taiko drums used on Star Wars and The Lord of the Rings films, and an 80-inch Paiste [Symphonic Gong], of which they made only a couple.
Gear Guru
How important is product knowledge when it comes to tech work?
A lot of people ask me, “How did you get to where you are in the industry now?” and I always say that product knowledge is key. Working at Bell taught me that. It’s all well and good knowing how to set up a drum kit, but if a performer approaches you with a particular sound in mind and asks you how to achieve it, you’ve got to be able to help.
Bell was all about that, and I learned so much working there—stuff that’s really helped me in my role as a tech. Whether it was choosing the right combination of shells and drumheads, selecting different snares and snare wires, or fine-tuning the kit, the focus is always on helping players achieve the sound they want.
Being hands-on in the shop and speaking with customers was how I acquired my practical product knowledge. There’s so much to learn—especially about the products out there being used by professional players.
Would you say being obsessed with music gear is a prerequisite for being a professional tech?
Yeah, we’re all gear nerds. I mean, we all love our gear and finding new, cool things to play with. That was what it was all about in the shop. We did our own marketing, making videos about stock items or, for example, demonstrating how to tune instruments in different ways.
Looking back, how important were those years at Bell Music?
I look back on my days of working in the shop fondly. At the time, you think it’s quite tough—the daily nine-to-five grind, working weekends, and doing late nights in the studio. I saw it as a means to an end, but in hindsight, it gave me the skills and knowledge that set me up to become a tech.
"I look back on my days of working in the shop fondly... In hindsight, it gave me the skills and knowledge that set me up to become a tech."
Building Bridges
How important were the relationships you built at Bell Music?
The networking aspect in that type of role is invaluable. The word “networking” feels a bit awkward because it was more about just building a community. My manager at Bell, Tom Romer-Smith, and I were working to build a customer network. There were people coming in and out of the shop all the time, or they’d be rehearsing in the studio.
We’d host music clinics in the studio, too, and some great players came in—people like Thomas Lang, Billy Cobham, Ash Soan, and Benny Greb. It was an ideal opportunity to catch up and ask what they were up to. They’d get to know you, and you’d get to know them.
The drum educator Mike Dolbear was a key figure at Bell, teaching students weekly in the studios and running some of the clinics with Billy, Ash, and Benny. He does so much for the drum community.
Players would come in and want to talk with someone who knew their stuff, and they’d ask for advice—people like Bob Knight and Freddy Sheed. Dexter Hercules (Ed Sheeran) would pop into the shop regularly for a cuppa and chat.
How did working at Bell Music open doors for you?
I feel like my journey really started at Bell Music because the first acts I worked for as a tech were all associated with it. At the time, I knew it was the right place to be because I got to know who was who. I kept an eye on the industry—who was playing for such-and-such a band, or who the production managers were for certain acts.
For example, Suren [de Saram] from Bombay Bicycle Club used to come to the shop, and we’d chat and nerd out about gear. I ended up working with them a few years later.
"I feel like my journey really started at Bell Music because the first acts I worked for as a tech were all associated with it."
Career Catalyst
Who was the first act you worked for professionally?
The first act I worked for professionally was Craig David. They were rehearsing in the big studio, and I completely chanced my arm by asking the production manager, “I know I’m working here in the shop, but I’ve recently been drum teching for some friends’ bands. Do you need a drum tech?”
He told me, “No, we don’t need anyone at the moment, but we might do in the future.” So I asked him to take down my details and said, “Well, if you ever do need anyone, I’d love to help you out.”
I thought nothing of it at the time. But about two months later, I got a call out of the blue while I was at work. It was Craig David’s production manager, and he asked me, “Are you available for three nights next week? We’re doing a residency at the Mayflower Theatre in Southampton,” [UK].
And were you available?
I wasn’t available! But I made myself available. I knew it was too good an opportunity to miss. Teching was what I really wanted to be doing, so I just made it work. Since then, I’ve been working freelance as a drum technician.
How did you make the leap from Bell Music to full-time tech work?
After that three-night residency, they called me back, and I was with Craig off and on for about a year. I took the plunge and left my job at Bell without any confirmed dates in the calendar.
It was scary because my (now) wife and I had just bought our first little house together, and we had a mortgage to pay. But I needed to be available to take on tech work full-time.
I ended up doing four days with Craig David during that residency in Southampton (his hometown), and then they booked me for a couple of festivals. So, at the time, I didn’t have much work confirmed. But I said to my wife, “If more opportunities like this come along, I want to be able to say yes to them straight away.”
"To begin with, I was mostly working with Craig David, and it was, thankfully, a busy summer schedule. My diary was getting fuller and fuller."
Freelance Freedom
How did your career develop after making that leap of faith?
I also started working for Liam Payne, who was in One Direction. Sadly, he’s no longer with us. Working with Liam was also an amazing opportunity, and I’ll be forever grateful. He took me to America for the first time as a freelancer, and we also went to Bali.
How did you break the news to Bell Music that you were leaving?
On New Year’s Day, 2018, I went into Bell Music, handed in my notice, and said, “I’m going to fully focus on becoming a freelance drum technician.” They were like, “Are you sure? Do you think it’ll work out okay?” and I said, “I have a feeling everything will be fine. Thank you for everything. I’ve learned a lot, and I think this is the right thing for me to do.”
I remember telling my wife, “I’ve just left my job. I really hope there are some more dates coming up.” And that’s exactly what happened. To begin with, I was mostly working with Craig David, and it was, thankfully, a busy summer schedule. My diary was getting fuller and fuller.
Who else did you work with after you handed in your notice at Bell Music?
I also worked with The Amazons. Joe Emmett was drumming for them at the time. He was a Bell customer, and we’d hang out in the store over a cuppa. I remember telling him that I was trying to get into tech work. I was really hustling to try and get things off the ground.
It was a bit of a long shot, though. At that point, The Amazons weren’t even considering hiring a drum tech, because they were already paying for a tour manager, a front-of-house engineer, and a backline tech who did all their guitars.
Joe was putting his own kit together, but I managed to convince them to take me along. I’d just turn up to shows, armed with my Peli case full of tools, and offer to help for free. I was like, “Can I help you load out? I don’t want any money for it.”
"Teching for Greenie with Vant on the main stages at Reading and Leeds gave me the confidence to actually call myself a drum tech and approach Craig David’s production manager to offer my services."
On the Job
How did you start building experience as a tech?
I helped out a band called Vant for a while. Vant had some radio hits around 2016/2017. Their drummer at the time, David Green (also known as Greenie), used to play in Little Comets. He’s now playing drums for Adam Ant and drum teching for Djo—the musical project of the actor Joe Keery, who plays Steve [Harrington] in Stranger Things. Greenie and I have stayed in touch for years.
Again, I first met Greenie at Bell. Vant didn’t rehearse at Bell, but they would pull up in the van on the way to shows in town to grab some sticks or heads. Vant was the very first band I started working for. They needed someone to come and help them set up on stage at the Reading and Leeds Festival, and I said to them, “I’ll do it. I don’t want any money. I know you can’t afford to pay for anyone else, but I need the experience.”
When did you start seeing yourself as a professional drum tech?
The experience of teching for Greenie with Vant on the main stages at Reading and Leeds gave me the confidence to actually call myself a drum tech and approach Craig David’s production manager to offer my services. I also did a bit of casual teching early on with a Brighton band called Black Peaks, who were fantastic.
Tech Trajectory
What made you aware of drum teching in the first place?
The first time I heard about drum teching was through an old college mate called Kodi Bramble. Kodi’s been teching with Harry Styles for years. He started to get ahead in the job while working with Laura Mvula.
I remember Kodi telling me, “I’ve got this new job where I get paid to set up drums.” I was like, “No way! Are you actually making money doing that? That sounds amazing. I’d love to get into that, too.”
Kodi told me, “Well, my band is playing a show at The Barfly in Camden, London, and we’ve got some industry people turning up. Why not come along and help? I’ll give you £40. And there’s a couple of beers in it for you.” I didn’t even know what a drum tech was at that point.
Without knowing Kodi and his early vision of being a tech, I don’t know if I’d ever have pursued it as a career. I’ve got him to thank for that. It’s great to be such close friends all these years later. I’m proud of how far we’ve both come.
"When people ask me, 'How did you get into tech work?' I always say, 'I tried to hustle, do it for free, get to know a lot of people, and reach out online.'"
Did you see those first gigs as a way of building towards something bigger?
Back then, the experience was more valuable than money. I already had a job and was making a living. Being able to say I’d teched for Black Peaks down at the Concorde in Brighton, Kodi at The Barfly in Camden, and Greenie at Reading and Leeds Festival was super important.
Get Connected
What advice would you give someone trying to break into tech work?
When people ask me, “How did you get into tech work?” I always say, “I tried to hustle, do it for free, get to know a lot of people, and reach out online.” Even when I first started, I was reaching out to drummers on Instagram DMs, like, “Hey man, can I come and set up your kit? If you ever need a drum tech, please keep me in mind.”
How important is your online presence as a drum tech today?
It’s all about getting out there and being visible. Nowadays, I find Instagram very useful. Instagram is almost like a modern-day CV. People find you online. A lot of new work has come via Instagram because people can see what you’re up to. They can see you’re out on the road, who you’re working for, your love for the job, and your love of instruments.
Have you and Kodi Bramble stayed connected as your careers have progressed?
It’s been great to see Kodi’s journey. He’s now at the top of the game, and we’re constantly crossing paths all over the world. It’s great to be able to say that we’re old college mates and have known each other since we were 17. We keep bumping into each other, and we hang out when he’s in London or in LA (which is where he lives now).
Rising Reputation
You mentioned Craig David earlier as your first professional tech role—how long did that relationship continue?
I teched for Craig David off and on for around 12 to 18 months, just doing a few shows here and there, coming home, and working with other artists. This was around the time of his comeback, when he returned to the UK from Miami and launched his TS5 DJ set. He was doing the Ibiza Rocks stuff, then live shows with a TS5 spin.
What kind of venues were you doing with Craig David?
We did a lot of racecourses and that kind of thing—huge shows and festivals, and he went down so well.
How did you move from occasional gigs to a full-time touring career?
Hopefully, if you’re doing a good job, word spreads. Between the Craig David shows, I was looking for something more consistent—something that would take me around the world. Working with Craig David introduced me to people like Sara Ferrero, one of the backline techs. Between Craig David and Liam Payne, I was meeting people constantly.
What was your first major touring opportunity?
Working with Craig David led to my first proper tour—with 80s pop icons a-ha, throughout August 2018. They were looking for a drum tech to fill in for a while. Bob Knight, a drummer whom I’d met while working at Bell, contacted me. He said, “There’s a guy I know who’s looking for a drum tech,” and I jumped at the chance. I’m glad I did, because working for a-ha ultimately led to my current job with Gorillaz a few years later.
I did a month on the road with a-ha, which was brilliant. I was in my mid-20s and working with these Norwegian pop icons in some of the most beautiful places in their home country. It was hard to believe. I mean, they’re huge in Norway. I absolutely loved it. Traveling on a tour bus, staying in hotels on days off, and being paid to travel while working for an act with such a huge legacy was incredible.
Going Global
How did you land your first world tour?
I did my first world tour with The 1975 until mid 2019. That was the Music for Cars tour in support of their album A Brief Inquiry into Online Relationships. That job came about from working with a-ha. This industry is all about links and connections. The music industry is very incestuous, in the best possible way. It’s all about the people you meet.
While I was with a-ha throughout the summer of 2018, I met one of the playback guys, Steve Rodd, and we got on really well. Steve had teched with The 1975 prior to the a-ha tour, where we worked closely together on the backline with a couple of other people.
The 1975 were looking for a drum tech, as their existing one was going off to do other things. By that point, Steve Rodd had gotten to know me and said to them, “I’ve worked with a guy on a-ha for the last month, and he was great.” I then got an email offer and, once again, jumped at the chance.
What was it like being part of a full touring cycle for the first time?
The 1975 had had a bit of a break [from playing live] because they’d been concentrating on writing and recording a new album. The first thing I did was go down to the studio they were at in the middle of nowhere in Oxfordshire to help them set up and do a few days of rehearsals.
I stayed on site and met everyone—the whole backline and audio crew. It was incredible. I knew The 1975’s first two albums, but A Brief Inquiry into Online Relationships was a step up in terms of success. It was massive. I was with The 1975 for the best part of a year, and the schedule was intense. They toured solidly, and my experience just kept on building.
What was the next chapter in your career after The 1975?
When The 1975 gig came to a close toward the end of 2019, I got stuck into working with Bombay Bicycle Club—another brilliant band I grew up listening to. I worked with them on the ten-year anniversary of their debut record [2009’s I Had the Blues But I Shook Them Loose], which is one of my favorites.
When I was in my first band, my friends and I would blast that record while driving around. We were like, “How do we sound like this?” So, getting to work with Bombay Bicycle Club for a while was fantastic.
Adapt & Survive
How did the 2020 COVID-19 pandemic affect your career as a freelance drum tech?
Sadly, when COVID-19 hit, it affected everything. Before that, things were going so well, but going forward, I didn’t have much in the diary, for obvious reasons. At one point, I honestly thought I’d never work in the music industry again.
We couldn’t even be in groups of more than six people. I was panicking. Like, “Is live music ever going to be the same again?” It was a strange couple of years, but it all worked out okay in the end.
Nobody knew how long COVID-19 would last, and as a freelance drum technician, I was really worried. I mean, that’s quite a niche job, and if nobody can play live and tour, then what am I going to do?
"I feel proud telling friends that drum teching is what I do for a living. It’s a far cry from how I imagined my career would turn out as an underachieving academic."
How did you adapt your career when live music stopped?
I took a sidestep into film work, which was a saving grace. Many people in the live music industry moved into film because it was thriving. Everyone was stuck at home watching films, which meant there was enough work available to keep me busy for about 18 months.
I even thought that film work would be my future, because it was comparable to working as a music tech. There were long days, early mornings, late nights, and large teams on location, all of which felt like being on tour. Working in film also gave me new skills to bring to my tech work—skills I use today.
I feel proud telling friends that drum teching is what I do for a living. It’s a far cry from how I imagined my career would turn out as an underachieving academic. I’m truly grateful to be earning a living doing the job I do now.
How valuable was that experience of working in film?
Although I wasn’t working in music, I made the most of it. I started off as a trainee and worked up to assistant level. It was an important diversion because it kept the money coming in and kept me sane.
A lot of techs feel the need to always be busy and keep active. It meant a lot to have a routine of going to work every day. At the time, I remember thinking, “Well, if live music doesn’t come back, I can still have a good career in the film industry.”
Career Reboot
How did you restart your career in live music after COVID-19?
Towards the end of 2021, I got an email from my good friend and production manager, Tyrone Brunton, who I work with on Gorillaz and The Prodigy. He emailed me unexpectedly and said, “Gorillaz are looking for a drum tech: are you available?”
"I said to my wife, 'I know I wasn’t planning on going back to touring, but I’ve just had an email from Gorillaz asking if I’m available for the next year to 18 months.'"
I said to my wife, “I know I wasn’t planning on going back to touring, but I’ve just had an email from Gorillaz asking if I’m available for the next year to 18 months.” There I was thinking I’d never work in the industry again. I mean, it’d been two years since I’d worked as a tech.
I thought nobody would even remember me. I’d been working in film for a while, and touring just wasn’t a thing during that time, so getting that email from Tyrone Brunton was one of the best I’ve ever had.
That was in 2021. We’re now in the summer of 2026, and my relationship with Tyrone is ongoing. He took me to The Prodigy when Gorillaz finished, and I’ve juggled those two acts for the last five years.
The Road Ahead
How busy have Gorillaz and The Prodigy kept you over the last five years?
I did a Gorillaz world tour in support of their [2023] Cracker Island album, followed by some promo stuff. I then went straight into working for The Prodigy and have been with them for the last three years. Gorillaz returned in 2025, and it was nice to be asked back for another record and touring cycle for [2026’s] The Mountain album.
I’ve just finished up in Las Vegas on my last Prodigy show of the year. My good friend James Sharpe is going to be taking over from me on The Prodigy for a while, as Gorillaz will hopefully be staying busy into 2027 as well.
Earlier on, you mentioned that working for a-ha in 2018 ultimately led to your current job with Gorillaz a few years later. What was the connection there?
When Tyrone Brunton was looking for a drum tech for Gorillaz in 2021, he reached out to one of his friends, James Maillardet, who was the production manager on the a-ha tour I was on in 2018. He said, “There’s this guy I used once, and he was cool, so here are his details.”
"Gorillaz and The Prodigy are brilliant acts, though they’re very different."
I was surprised James Maillardet remembered me, considering everything that happened in the meantime with COVID-19. But Tyrone said, “My friend James recommended you; are you available?”
I couldn’t believe it. Not only was it great to be recommended, but so much had happened since 2018. I’m very grateful to James Maillardet. I messaged him saying, “I know we haven’t seen each other since 2018, but I appreciate you putting my name forward for this. Tyrone and I are still working together several years later.”
Gorillaz and The Prodigy are about as big as it gets. As a tech, how does it feel to be operating at the top of your game?
It’s mind-blowing. Gorillaz and The Prodigy are brilliant acts, though they’re very different. I wasn’t sure what I was getting into to begin with. When the first stint with Gorillaz was coming to an end [in 2023], Tyrone said, “Come and do The Prodigy now.” I wasn’t too sure what to expect. I was like, “Will I enjoy it? Will it be okay?” And he was like, “Dude. Come on. It’s The Prodigy. You’re gonna love it.” So I went for it. And he was right. It’s been awesome.
Smack My Drums Up
In what capacity did you begin working with The Prodigy?
I came on board with The Prodigy as a drum tech, looking after Leo Crabtree. Leo has been with The Prodigy for about 20 years. He’s a joy to work for. His setup is very unique, as is his sound.
With The Prodigy, it was initially a case of going into rehearsals with Leo and Rob Holliday, the guitarist, and hearing the songs for the first time. We’d go into a small studio in Birmingham, near where Rob lives, with Richard Pratt (also known as Churd), the tech, and just thrash Prodigy songs for a few days straight.
What was it like stepping into the world of The Prodigy?
It was insane. Everyone knows songs like “Breathe,” “Firestarter,” and “Smack My Bitch Up,” but there were others where I was like, “Oh, I didn’t know that was a Prodigy tune. I love it!”
We were watching Leo just thrash the drums. I’d never seen anyone hit with so much power. Hearing some of those songs for the first time was just amazing. Immediately, I was like, “Okay, I’m sold.”
Has your work with The Prodigy been consistent?
The Prodigy is the band I’ve worked with the most in my career, and it’s been almost non-stop for four years. It’s been summers, into tours, and into summers again. We’ve played in Japan, Australia, New Zealand, and America a few times. We’ve done UK tours, European tours, headlined Glastonbury [The Other Stage], the Isle of Wight Festival, Reading and Leeds Festival… The list is endless with those guys alone.
Grooving With Gorillaz
How does teching for Gorillaz compare to teching for The Prodigy?
I’m a drum technician on The Prodigy, but I’m also a percussion technician on Gorillaz shows. Gorillaz is a whole different gig. I’m looking after four players in total on Gorillaz, which keeps me really busy. They all have intricate setups that need attention. There’s a ton of gear and lots of different cases to take care of.
On Gorillaz, I look after Karl Vanden Bossche, who’s got an intricate setup with his e-kit and percussion items. I also look after Jaega McKenna-Gordon, who plays a full kit. The new Gorillaz record [The Mountain] was heavily inspired by Indian music (Damon Albarn and Jamie Hewlett went out to India to record it), so I also look after a tabla player called Jamal Hussain.
"With Karl Vanden Bossche's setup, I was able to put ideas into that hat. Many of those suggestions stemmed from my product knowledge gained while working at Bell years ago."
There’s also Remi Kabaka Jr., who plays a lot of African percussion—all the bells and whistles (literally). Remi is a percussionist, drummer, and producer of Gorillaz records. He’s also an original member and the voice of Russel Hobbs (the Gorillaz cartoon drummer and percussionist).
I’m also really busy on shows with The Prodigy, but for slightly different reasons. I’ve always got to keep an eye out because Leo is such a heavy player, and stuff can break or move. You know—sticks flying around, cymbals breaking, and heads snapping through mid-show.
Hybrid Hardware
The DW Drums, Roland V-Drums, and LP Percussion setup you put together for Gorillaz hybrid drummer and percussionist Karl Vanden Bossche is incredible. Tell us about that.
That was a really exciting project to work on. You don’t always get to put your own spin on things as a tech, but with Karl’s setup, I was able to put ideas into that hat. Many of those suggestions stemmed from my product knowledge gained while working at Bell years ago.
I’m so happy Karl loves it. It’s great to feel like I’m doing a good job for him. We really needed to overhaul his setup because it was the same one he’d used for the last 25 years, even going back to his Blur Think Tank recording sessions.
Karl was using an old Gibraltar rack, which had seen better days. It kind of got him through the last tour, but we were like, “When are we going to upgrade this thing?” One of the first things I mentioned when we were gearing up for the next set of Gorillaz shows was that he needed a new rack.
I love DW hardware, and Karl was totally on board. He’d actually taken the time to look into it himself and said, “I think you’re right: the DW stuff is fantastic. Let’s give it a go.”
Putting together Karl’s new rig felt special because everything worked immediately straight out of the box. It was a lot of fun—like putting together a jigsaw puzzle (but easier). All the parts felt lightweight and were so easy to assemble. The DW Memory Locks are fantastic and are so refreshingly simple to use. I’m sure Karl’s new setup will last for decades to come.
What were you aiming for with Karl Vanden Bossche’s new Gorillaz setup?
We tried to replicate his existing setup as best we could, adding pieces like the clamps, tom arms, and cymbal arms. When I got my hands on everything, it only took me a few hours to unbox it and set things up the way Karl likes. We kept the V-Drum Pads, as they’ve stood up to intense touring and many hours of play. He uses a few Roland PD-85 V-Pad variants and a couple of PDX-100 V-Pads.
Karl’s got two TD-50 [Drum Sound] Modules that serve as a redundancy system and sit in an electronic rack. He used to use the DTX stuff but switched to TD-50s, which are brilliant. I used a similar redundancy system with The 1975, also comprising two TD-50s and Roland V-Drums.
Karl uses the Roland VH-10 [V-Hi-Hat], which is brilliant because it has both opening and closing hi-hat sounds. To me, it almost feels like the real thing. And there’s the Roland KT-10 Kick Trigger Pedal, of which we have two (main and spare).
We went for a DW 9000 Series Hi-Hat Stand and a 5000 Series Snare Stand, which he was already using. We thought we’d update it, as he’d been using the same one for well over a decade all around the world, and we wanted everything to be fresh and clean.
"LP is my first choice for percussion, Roland for electronic drums, and DW for acoustic drums and hardware."
First Choice
Has any of Karl Vanden Bossche’s DW or Roland gear failed on tour?
We’ve got spares for everything, but I’m pleased to say we’ve had no failures at all with the DW or electronic Roland gear, even going into a second world tour cycle with Gorillaz. This stuff gets pulled out, battered, and cased up every night, but it all just works great every time.
Tell us about the Latin Percussion gear Karl Vanden Bossch uses with Gorillaz.
Karl is an LP guy, which is brilliant because, alongside Roland and DW, it feels like we’re all part of the same family—especially on the Gorillaz gig. Personally, LP is my first choice for percussion, Roland for electronic drums, and DW for acoustic drums and hardware.
Karl is an amazing player. With Gorillaz, he not only handles percussion but also plays a Roland electronic kit. Every electronic drum is assigned its own sample, and those sounds change from song to song—and we’re talking more than 120 songs from the back catalog! He also had to learn all the tracks from The Mountain that had never been performed live before.
Even the way Karl plays the shaker or tambourine is incredible, and his touch on bongos and congas is phenomenal. He’s a true artist and a lovely, humble guy.
Custom Kits
What Roland gear does Jaega McKenna-Gordon use?
Jaega uses a Roland SPD-SX [Sampling Pad], which has been part of the touring setup for a while. On certain songs, he uses kick and snare triggers—a Roland RT-30K [Acoustic Drum Trigger] on the kick and a Roland RT-30HR on the snare.
Tell us about Jaega McKenna-Gordon’s new DW Drums setup.
Jaega was the new drummer entering this latest album cycle, and his old gear had been toured extensively for years. We wanted to get it right going forward, and decided to update everything.
Firstly, we agreed to get a new drum kit. He got a brand-new DW Collector’s Series kit, hand-made in America, in a Satin Army Green finish. It’s so beautiful. This custom kit, which David Phillips and Scott Garrison at DW helped put together for Jaega, is really special.
"Karl Vanden Bossche, Jaega McKenna-Gordon, and I all feel that DW, Roland, and LP make the best equipment we can get our hands on, and they're the easiest companies to work with."
We thought it would be wise to upgrade the hardware at the same time, and DW also took care of that. We changed to DW hardware with a Black Nickel finish, which was really special, too. He uses DW 5000 Series Pedals and a 5000 Series Hi-Hat Stand.
Jaega’s setup is quite special because he sits and plays everything low down. We wanted to get DW Boom Stands, though he was worried they would be too tall. Thankfully, David Phillips came down to rehearsals and told us about the DW Low stuff. We gave it a go, and it was just perfect.
What’s your personal take on DW hardware?
DW hardware is the best out there, in my opinion. I’ve had a lot of hands-on experience with DW gear over the years, and it’s so well-made. DW equipment is solid. And all the handy little features make life a lot easier.
There’s also a wide variety of choices with DW. People sometimes say, “DW gear is heavy and bulky,” but you can choose the lightweight DW gear if you like. Lots of people prefer the heavier stuff, but the lightweight stuff is there if you want it.
Personal Touch
What do you think of DW Drums, Roland, and Latin Percussion generally?
Karl, Jaega, and I all feel that DW, Roland, and LP make the best equipment we can get our hands on, and they’re the easiest companies to work with. The support is fantastic, and so are the products. They’re faultless.
What’s your experience of working with DW Drums been like?
The support we get from DW is incredible. That is so important. When I was working at Bell, I met a lot of reps from different companies, and that’s when I first met David Phillips. We’ve been in touch over the years about various artists I’ve worked with, and I’d say he is, hands down, one of the most attentive people out there.
I always know that if I need something, I can reach out to David, and he’ll quickly get back to me—often on the same day. He’ll usually just call me, because it’s faster and easier to talk about things over the phone than via email or message.
It can be a deal-breaker if you don’t get adequate product support, but the DW and Roland guys are always happy to pick up the phone and help, or even visit in person, which is amazing.
"I’m a big believer in being able to achieve things if you put your mind to it. That’s been a recurring theme for me throughout my career."
Full Circle
Were you a fan of Gorillaz before you started working with them?
One of the first records I bought when I was 10 years old was the [self-titled] debut, and I vividly remember jumping around to the song “19-2000.” In 2025, we celebrated 25 years of Gorillaz, and they played the first, second, third, and new records in their entirety over four nights at the Copper Box Arena in London.
The biggest one for me was the debut record, because it was the first album I bought. It was a poignant moment for me because I’d gone full circle from jumping around in my bedroom playing my first record to working with Gorillaz on stage as they played the same songs. Sometimes I feel like it was meant to be. It’s really strange.
Do you believe in making your own luck?
I’m a big believer in being able to achieve things if you put your mind to it. That’s been a recurring theme for me throughout my career. I’ve set my sights on something, and I won’t stop until I achieve it. I’m like a dog with a bone sometimes.
When I wanted to work for a band, I did everything I could to make it happen. My story is all about the journey, which means getting out and meeting people. It’s about making your own luck.
