Drummers Unite: Richie Pena, James Agnew, Rashid Williams on Pricing, Endorsements and Camaraderie (Episode 39)

Make Music Your Business.

Put five drummers and one guitar player at a catering table and see what happens. In Episode 39 of The Career Musician, Nomad is backstage after soundcheck on a gig in Chicago, outnumbered by drummers, including Richie Pena, James Agnew and Rashid Williams. On the bill that night: Jill Scott, Ledisi and Babyface.

Nomad opened by instigating, as he admits: how come all the drummers get along, but guitar players don't? From there, the drummer circle covered pricing your work, endorsements, and why there is enough work for everybody.

Drummers get along. Why don't the rest of us?

The table agreed instantly: drummers walk into a room and become family. Nobody could say why, and Nomad, a guitar player by trade, had to admit they were right.

Nomad also introduced the credits, as he told them on air: Rashid Williams has played drums for John Legend and Jill Scott. Richie Pena has played for Natalie Grant, Babyface, Toni Braxton, David Foster and Andrea Bocelli. James Agnew has played for Jason Derulo and Babyface, and was drummer and musical director for Ledisi. That night James was playing for two artists on the same bill.

Double dipping is a tightrope

Two gigs in one night, for two artists on the same show, sounds like a dream. The table called it a fine line. An artist might feel like that's my drummer, I don't want him playing with her. As a contracted musician, you have to keep everyone happy: the artist, management, production and the rest of the band. Know whose permission you need.

Feel over chops, and one person sets the tone

The YouTube chops conversation came up fast. A virtuoso is cool to watch. But if the music doesn't need it, there's no reason to play it.

One drummer came up in a 14 piece band with an old man on congas, where everyone had to lock in with no click track. If one person is off, it doesn't matter how great anyone else is. In a group, the table agreed, one person sets the tone. If two people try to lead, it clashes. Build the foundation first, assign the subdivisions, and only then can someone step out with a polyrhythm on top.

The table also missed the face to face part of learning. One drummer remembered traveling to Philly as a teenager to see the great gospel drummers there, knowing he had one night to soak up everything and go home and practice it. Now it's all on YouTube, and young players miss the hang and the social skills that come with it.

Know your value, and don't undercut the market

Young players taking low money or no money just to get in the door came up next. The table's point: when a first year player offers to do it for free against an experienced player's rate, the whole market gets diluted, and musicians start acting like crabs in a bucket. Then the players who want to do it right end up taking less just to keep the integrity of the music. There is a reason an expensive player is expensive.

Nomad added a balance. He had just flown to a gig on a private jet with Nathan East, Greg Phillinganes, David Foster, Babyface and Kenny G, players known for being well paid, and not one of them talked about money. It was all about the love. There is a fine line between underbidding and knowing your worth. Know the difference between a local hang you play for fun and a full tour you price as a business. That is Make Music Your Business.

Endorsements: love the gear first

One drummer admitted he took an endorsement because it seemed cool, then realized he didn't like the product. He felt like he was lying to himself every time he sat down to play.

The drum company owner at the table gave the manufacturer's side.

"You want somebody that loves your product for what it is and is interested in your gear because it speaks to them, not because they're getting some great deal... or because it's free."

Drum company owner, 18:16

Companies want people who are professional in business and personally, because you are a reflection of the brand. Everything you do is an audition, and that includes how you carry yourself as an endorser. On social media, talk about the gear the way it would come up in a normal conversation. Nobody wants to be bombarded with ads.

James Agnew shared how his own endorsement happened: he wasn't chasing free gear, he was just playing, and the company came looking for him. Do it right, and it isn't really about picking a company at all.

No competition, just respect

Nomad loved the camaraderie. They all play the same instrument and could see each other as competition. They don't. They live in different cities, each has a unique style, and people hire them for who they are on and off stage.

"Don't be in competition with your brothers and sisters out there. It is not worth it... Trust me, there's enough work to go around for everyone."

Nomad, 22:19

That is Low maintenance / no drama at the level of a whole scene.

The youngest at the table, a local Chicago drummer just starting out, said he mostly wants to learn from the people already doing it. Nomad pointed to that as the lesson.

"Always keep your eyes and ears wide open, keep that mouth closed, and when you do speak, speak politely, with courtesy."

Nomad, 26:58

That is Humility, the H in ETHOS.

The takeaway

Play for the music, not the camera. Price your work like a business without losing the love of it. Endorse gear you actually play, and treat other players as family, not rivals. If you are working toward that first big call, start with the free Get the Gig guide.

Get the gig. Keep the gig. Build the career.

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