Drummer Ash Soan on why major labels are “killing the golden goose”

British drummer Ash Soan mainly works out of a drum tracking studio in the base of an 18th century windmill in the Norfolk countryside where he’s tracked drums for artists including Alicia Keys, Ed Sheeran, Cher and Taylor Swift. On the live drumming scene, he’s played at Woodstock ‘94, supported The Rolling Stones, REM, Bon Jovi, Van Halen, Oasis and Bryan Adams at Wembley as a part of Del Amitri, and has toured as a session drummer for everyone from Robbie Williams to Dionne Warwick. He also played at the 2012 Olympic Games Opening Ceremony, was the house drummer on The Voice UK, and has played on films including Terminator Genisys and Mission: Impossible – Fallout and on numerous soundtracks for Hans Zimmer and Lorne Balfe.

He explains why major labels are “killing the golden goose” by not investing money into studio time for artists.

Given that you’re usually found tracking drums in your studio these days, how did you find adapting to touring again this year – especially after the pandemic?

I've been touring a lot this year, which has been really interesting because I thought I never would! My last proper tour before this year was with Sinead O'Connor in 2012. I did a couple of little things in between with Del Amitri but they were only very short UK tours. 

I was the house drummer on The Voice for about seven years, and that was great because that coincided with my kids being small, so I was around more. Then my studio started to get quite busy pre-pandemic. I got offers for tours, but I never did it because I was doing the TV thing.

What was the experience like touring with Tori Amos this year, especially after being out of the touring circuit for so long?

I was like, “If I'm going to go off and disappear with anyone, it has to be credible music, and all the boxes have to be ticked”. Lo and behold, I got asked to tour with Tori, and she's fantastic. I'm really looking forward to going back out with her again next year. 

Tori is remarkable in every way and it was amazing. It is one of the greatest tours I've done – people in the entourage and all of our crew…it's such a great family vibe and everyone was just happy to be there.

I was also slightly terrified if I would be physically able to do it, because it's knackering touring – it’s very physical. I never used to think about that until now – I’m older. Tori would do a two hour soundcheck and then a two hour show, so I'm playing quite a lot every day. 

Plus her music is not just eight bars, then another eight bars, 16 bars, chorus, out – all good. You've got to think about what's going on, so mentally it was a bit of a load as well, but I managed it!

Have you ever tried to play in a more restrained way, or does the music and adrenaline just take over every time?

I give everything when I play, for sure, and it's tiring. I can't do it any other way though. I've tried to be professional like, ‘Conserve your energy and blah, blah’, but I just can't do it. The music makes me do it! 

It's an emotional and physical commitment and it can sometimes take its toll, but it's really worth it. I feel very lucky that I'm still able to do it, because there are some guys of my generation that aren't working.

Have you noticed a drop off in studio work now that artists can tour again?

It seems like everybody's out on tour because people were forced to do the studio stuff and write songs and be creative that way. Now it seems like everybody's out – I know the venues are just rammed. 

I'm still getting calls for recording, which has gone a little quiet because everybody that's anybody is out on the road. Bands and artists are trying to recoup the money that they've lost because of the pandemic.

Your studio (The Windmill) is a drum tracking studio in the base of an 18th century windmill, which you said was built in response to changes within the music industry. How does this space give artists and producers the opportunity to have live drums on tracks which in the past would have been programmed or looped?

Pre-pandemic, people were working in production rooms a lot more and on laptops, and not really doing that traditional, “Let's go to the studio for three weeks and do a record”. 

I've had this place for 10 years, and I noticed that there are fewer opportunities to record drums in the traditional way.

Why do you think that is?

It's become really apparent that it’s because of budgets; people just haven't got the money. Well, it's actually one of the sorest points in the music industry, which is, there is money. Major labels are in record profit, but they're just not investing in music. I just think it's stupid, short sighted behaviour because eventually they’re killing the golden goose. 

I hear this all the time from producers and artists that they're just not actually investing money in making records, so people will therefore say, ‘Well, let's programme the drums”. Also sonically, it's changed. Real drums is something that has sort of disappeared in a lot of ways. 

I realised I could bridge that gap where they don't have to spend a huge amount of money to get a room and then to pay me and then pay an engineer; I can do it all from here and send them the stuff.

Do you think the labels will eventually invest more money into professional studio time for artists again?

I hope that it gets back to there being loads of bands in the studio. I pray that it's going to change, but it does make me angry when I know that the money's there – [major labels] have got so much money! It's absolutely ridiculous. They're not investing in the art anymore, and hopefully it'll f**k ‘em, if I'm honest. Hopefully they will get a right bite in the ass, but sadly, it's not [happening]. 

Spotify streaming is working for them and you can get somebody working on a track on a laptop in their bedroom that’s signed to a major record label who pretty much creates music like that. Or it can be a TikTok sensation and they earn loads of money and job's a good 'un. But it's just a shame that this is where we seem to be at the moment.

I also don't want to sound like a bitter, angry old man! [laughs] But I also hear young people that are frustrated for the same reason as me, and they don't remember the budgets, they just know that they're not getting any help. It's rubbish, but that's what people seem to be doing. They're just letting it unfold in front of us.

Another thing I keep hearing about live stuff is there's more and more shows and more and more gigs and tours happening, but that money has gone down for the musicians. It's unreasonably difficult to try and earn a living making music nowadays.

Which studio monitors are you using at The Windmill?

I've got 8250A bi-amped Genelecs, which are pretty old now, but I absolutely love them. I don't usually mix on them – I usually use headphones, but it's always great when I finish playing to just kick ‘em in and walk around the room and listen, because they do sound so, so brilliant. 

It’s that final gratifying moment of, “What do the drums really sound like with a bit of volume in a room?” It's just so great to put them on and sit down in front of them and have a fantastic listen. 

They've been so reliable. I've had them for 10 years and actually, they've probably never been off. They've probably been powered down a few times, which is incredible, if you think about that!