Name: Johnny Symons
Nationality: British
Occupation: Drummer, songwriter
Current release: The Prisoners, composed of Graham Day, Allan Crockford, James Taylor, and Johnny Symons will play a performance at the London Roundhouse May 24th 2024. That evening will also feature DJ Steve Lamacq as well a "very special guest."

If you enjoyed this Johnny Symons interview and would like to find out more about The Prisoners, visit the band on Facebook.



What was your first drum set like and what are you using today? What, to you personally, are factors in terms of build and design that you appreciate in drums and percussion instruments?

I was about 14 years old (late 70s) and it was a very old 4-piece Olympic kit. And I still use my original 1965 4-piece Ludwig Super Classic kit with a mixture of Paiste 2002, 505, and Sound Edge cymbals. I just love that classic 60s Ludwig sound.

Not so bothered about build and design, just the sound is important to me. My kit must be robust as it was originally heavily gigged in the 80s when The Prisoners got going and was used for most the studio albums apart from the 1st when I used a 70s Hayman kit.



I recently bought some LP Matadors for some conga work on our new album – they’re really solid and well built.

Late Rush-drummer Neil Peart said: “The equipment is not an influence. It doesn't affect the way I play. It's an expression of the way I play.” What's your take on that?

Totally agree. It’s your individual stamp that matters and that’s what you express through your playing. The instrument is the conduit.

Drumming is an integral part of many cultures, and traditions. Which of these do you draw from in your playing – and why?

I draw inspiration still from the same rock genre players I loved as a kid. That is Mitch Mitchell, Keith Moon, Al Jackson, Charlie Watts, Mick Avory & John Bonham.

Nowadays I also go for early James Gadson and Steve Jordan – truly a groove maestro.



What were some of the main challenges in your development as a drummer / percussionist? Which practices, exercises, or experiences were most helpful in reaching your goals?

The main challenges I think I originally had back in the 80s was not getting too pissed at gigs! I just didn’t give a f*ck and just wanted to have a really good time playing live. I just had so much teenage pent-up energy and I just let it all out behind the kit. It was simply a blast live and that was reflected back to us from the audience as well.

Recording was a totally different thing. That was really focused and properly disciplined though my timing left quite a bit to be desired, but it was of its time, completely unfettered and free.

Nowadays I’m much more focused on trying to give a more even tempo but still with plenty of swing and feel. I do practise regularly with a click to even out my time keeping. And I have lessons with the great, almighty Mike Dolbear who guides me on tempo, independence, musicality and just about everything really. You’d be surprised who’s on his roster – some very well-known players.

I do practise some rudiments, but it’s mostly playing to improve my musicality at a more even tempo. Really the best experience is playing live. This is where you learn the most and it’s something that still I need to do more to really improve.

What do you think you're doing different than other drummers?

I’m really not sure, my playing is fairly basic, almost frozen from when we were originally playing in the 80’s. I just do my thing that’s all I can do.

How do you experience the concepts of "groove," "swing," and "rhythmic feel" in music?

That’s a difficult one. The feel thing just comes from within and to me that’s the most important thing. I can’t quantify or analyse it, I just hope that’s what I can give. Without ‘feel’ there’s nothing to give really. Technique is one thing but without feel it’s pointless.

The swing thing is a tricky one. I love Kenny Jones’ swing with the Small Faces and Faces and Charlie Watt’s, of course - he swung as did Mitch Mitchell.



Different drums have a distinct sound and drums and percussion are also timbral instruments. What drum sound are you aiming for and how are you making use of the timbral potentials and possibilities of your instruments?

For drum sounds, I like Kenney Jones – later Small Faces, Ogdens etc, Mooney, Charlie Watts and John Bonham of course.

In relation to drumming, Stewart Copeland said: “Listening is where the cool stuff comes from. And that listening thing, magically, turns all of your chops into gold.” What do you listen for?

I listen for what sounds different. The great drummers you can hear a mile off. It’s like a signature – you just know it’s them.

Topper Headon is another one. Just a great player.



Do you feel that honing your compositional / songwriting skills has an effect on your drumming skills?  

No, not really.

Though when I’ve recently been working on lyric ideas to help with our new material, I always think of the beat as well.

How has technology, such as drum machines and sequencers, impacted the way rhythm is created and perceived? Has it been a concrete influence on your own approach?

The only way technology has affected my playing really is the click. But I do love some of the sequenced stuff that’s come out over the years.

I’m not a purist in any way. My mantra is - if it sounds good, great, don’t worry too much about how it was created, just enjoy and have a dance.

Physical strain is a particularly serious issue for many drummers. How does it manifest itself, how do you deal with it and in how far does it affect your creativity?

Trying to relax when you’re playing is so important and it’s something I struggle with live. When I’m relaxed my playing flows and I’m not tense at all. When I’m wound up everything stiffens-up, I grip too hard, have to tape my fingers and that’s when you can hurt yourself.

Playing more doubles helps as well as you’re only expending half the energy.

Many recording engineers have remarked that the drums can be particularly hard to capture. What, from your perspective, makes drums sound great on record and in a live setting?

Letting them sound natural, not much dampening, let them sing naturally.

Drums and percussion are remarkably often used for physical therapy / healing. What, from your point of view, makes them particularly suitable tools for this?

I think you relax when banging out a rhythm, it’s kind of tribal.

I've been fascinated by pure drum / percussion  recordings and even drum solos for a long time. Do you have some recommendations in this direction?

I’m not really into drum solos. I find them boring to watch. I usually go to the bar when that happens.

There are exceptions, of course. I remember seeing Buddy Rich back in the 80’s in Southend. He was just amazing. I almost felt like giving-up though – it was like what’s the point in playing after seeing someone as good as him.