Name: Yusuf Ahmed
Occupation: Drummer
Nationality: Italian
Current Release: Sound and Reason on Albert’s Favourites
Recommendations: Demian by Hermann Hesse / Shahbaz Qalandar by Nusrat Fateh Ali Khan.


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When did you start writing/producing music - and what or who were your early passions and influences? What was it about music and/or sound that drew you to it?

Although I don’t come from a musical family or tradition, I was lucky to be raised in an environment that nurtured my curiosities. With music, it was always one small discovery after another.  I loved positive, feel good music which, looking back, is probably what led me to play the drums when I was still in school.


For most artists, originality is preceded by a phase of learning and, often, emulating others. What was this like for you: How would you describe your own development as an artist and the transition towards your own voice?

Originality is not something I consciously strive for. I think it’s subjective and unrelated to one’s development. I try to play what I hear, whether or not it comes across as original isn’t something I think about - plus, it’s out of my control. Regarding an artistic transition towards my own voice, for me it’s a constant state of evolution. I never feel I have “arrived”.

How do you feel your sense of identity influences your creativity? 


I’m not quite sure I know what “identity” is. If identity is who I am and creativity is an expression of that, then in a sense they are the same thing.

What were your main creative challenges in the beginning and how have they changed over time?

A major challenge continues to be accepting the things I produce/create. This can also be a reason to keep creating.

As creative goals and technical abilities change, so does the need for different tools of expression, be it instruments, software tools or recording equipment. Can you describe this path for you, starting from your first studio/first instrument? What motivated some of the choices you made in terms of instruments/tools/equipment over the years?

The various instruments/recording equipment I have had over the years reflect a desire for a more nuanced expression. Over the years I have come to believe that although getting more advanced recording gear or instruments is great, fun and you can learn from it, it’s not necessarily any better than the cheap and basic version I started with.

Have there been technologies or instruments which have profoundly changed or even questioned the way you make music?

Yes, I increasingly find that I am attracted to simple instruments and recording techniques. This makes me question my own approach and the conditions I create for myself.

Collaborations can take on many forms. What role do they play in your approach and what are your preferred ways of engaging with other creatives through, for example, file sharing, jamming or just talking about ideas?

All of these are important for me. I am rarely satisfied with making music by myself. Maybe this is because I love harmony and melody and as a drummer, I would get bored hearing just myself.

Take us through a day in your life, from a possible morning routine through to your work, please. Do you have a fixed schedule? How do music and other aspects of your life feed back into each other - do you separate them or instead try to make them blend seamlessly?

I don’t really have a typical routine at this point in my life. Most things I do outside of my quotidian existence are related to music and they are ever changing.

Can you talk about a breakthrough work, event or performance in your career? Why does it feel special to you? When, why and how did you start working on it, what were some of the motivations and ideas behind it?

I try to treat each musical situation with the same level of seriousness and dedication. Some end up having more emotional significance than others, but this is often due to an array of factors beyond my control and understanding. A “breakthrough moment” such as the release of an album or doing a specific gig I’ve been excited about for a long time can be particularly rewarding, but once it has passed, I don’t think about it much.

There are many descriptions of the ideal state of mind for being creative. What is it like for you? What supports this ideal state of mind and what are distractions? Are there strategies to enter into this state more easily?

I try hard to be as calm and peaceful as possible before and during performing. Playing feels best when I am confident and carefree. Whether or not I manage to get to this state of mind and if it results in better output is another story!

Music and sounds can heal, but they can also hurt. Do you personally have experiences with either or both of these? Where do you personally see the biggest need and potential for music as a tool for healing?

Absolutely. For me, music is a spiritual practice with therapeutic benefits. It is difficult to articulate these experiences because by definition, music exists where words are not enough. There is some music that moves me so much that I find it difficult to listen to.

There is a fine line between cultural exchange and appropriation. What are your thoughts on the limits of copying, using cultural signs and symbols and the cultural/social/gender specificity of art?

I struggle to understand this. Who decides what is authentic and what isn’t? What defines a culture? My parents have lived in more than 10 countries, I speak 4 languages, I grew up in London and don’t have an English passport, sometimes I cook plantain (plan-tin!). I am a musician, that is my “culture”, I don’t know about definitions and categories.

Our sense of hearing shares intriguing connections to other senses. From your experience, what are some of the most inspiring overlaps between different senses - and what do they tell us about the way our senses work?

Something that comes to mind is that music is consumed in a very visual way nowadays - at least more so than when I was younger and listened to CDs. Visuals can massively influence the success of a band/artist. On the flip side, seeing musicians play live has helped me understand the music better and strengthened my connection to the sound. Another thing is physically feeling bass frequencies. For example, you can’t replace the physical feeling of a dub Sound System.

Art can be a purpose in its own right, but it can also directly feed back into everyday life, take on a social and political role and lead to more engagement. Can you describe your approach to art and being an artist?

I understand and appreciate the importance of art in social and political contexts, but for me, I play music to escape thinking about these things. I’m lucky to be in a position which allows me to do that.

What can music express about life and death which other forms of art may not?

I have no idea.