Away with the Circus - Rachel Trainor, Bec Matthews and Jo Franklin.
By Nat Grant. Originally published in Drumscene Magazine in 2017
Rachel Trainor photo by Greg Holland Photography
Away With the Circus
Nat Grant
Melbourne drummers Rachel Trainor, Bec Matthews, and Jo Franklin are all multi-talented, multi-tasking, multi-instrumentalists with an interest in cabaret, circus, and live art. With a huge range of extra-musical experiences between them, here they share some of their experiences of being more than just the drummer in the band.
Rachel Trainor
Rachel is the drummer at Dracula’s Cabaret Restaurant and has lived in Melbourne for the past five years (she is originally from a small town in Central Otago, New Zealand). Rachel also drums in original garage rock band Honeybone. “I’ve been playing drums for about fourteen years,” she says: “My older brother started drumming when I was four so I’ve been around them most of my life. I always thought drums were cool, and then when I got an opportunity in high school to get out of math class to learn drums, I couldn’t pass that up!”
Being part of a cabaret show often involves more than just drumming, and Rachel also sings and plays guitar. “Being able to sing has definitely taken me down a different path than most musicians,” she says, “and my first performance experience was singing in a theatre show, rather than drumming, which came slightly later … In such a small cast like Dracula's (there are only five of us), it's really great to be able to play more than one instrument, and be keen to learn more. I now play a little bass guitar in the show, which I hadn't done much of before, and I also learned how to use a looper and beat box, which is really fun. I definitely think that being able to be a 'jack of all trades' has helped me go down the live theatre/cabaret path. At Dracula's, the more you can do the better!”
Drumming is always a high-energy job, and being a theatre musician comes with extra pressure to be “on” for a sit down audience. Rachel says: “you've got to perform! Stage presence is SO important. When I gig with my band, there's people talking to their mates, getting drinks at the bar, dancing. When I play at Dracula's, everyone is sitting down, watching what's going on on stage. So you can't just rely on the music to entertain everyone like at a normal gig, you have to perform, and look like you're enjoying it! You have to give some face, get into the song, and really give it your all. I twirl my sticks, throw my hair around, throw my snare hand way up high. It would probably be pretty cheesy at a normal gig, but on stage at Dracs, you're in costume with awesome wigs and makeup, and it wouldn't do to just sit and play without getting into it. If you look like you're having the best time up there, the audience will too.”
Rachel has found it important to maintain a regular practice regime: “I try to practice for at least an hour a day” she says, “running through whatever I’m working on at the time. I usually just jam for about ten minutes then I’ll run through the basic rudiments, singles, doubles and paradiddles with my metronome building up the speed to warm up. Then I’ll move onto whatever I’m working on, a song, or groove or whatever, and maybe jam along to a song to finish off.”
She also stresses the importance of being able to approach each show with freshness, which can be difficult when performing the same material night after night. “Dracs shows run for 12 months at a time, and our current show, 'Resurrection' has been extended til early next year, which will make it roughly a 16 month run. … I try to change up my playing and keep things fresh. The most important way to keep things interesting is to stay in the moment, listen to the song, or what's going on stage, and remember to have fun …. Sometimes it's hard if the crowd is quiet or not giving you anything, but then you find the one person who's loving it, and do it for them. A good thing to remember is that even though this may be the 100th time you've played this song, the audience probably hasn't seen it before, so in their eyes, its new. So if you think about it like that, it’s very easy to do the same show night after night.”
Bec Matthews photo by Peter Leslie
Bec Matthews
Bec, previously drummer for Circus Oz, is Musical Director and drummer/percussionist for punk cabaret performance artist Yana Alana and Tha Paranas. They also drum for Yana’s alter ego Queen Kong in queer rock performance art band Queen Kong and the Homosapiens. Bec has been playing drums for 25 years: “My grandfather was a drummer” she says … “At his 80th birthday he and his friends played Dixieland Jazz in my parents front yard. I sat next to pop and gradually edged my way closer until he let me play the hi hat while he kept the beat going. During a break between sets I was let loose on the kit and caught the bug from that moment. Thanks to my grandfather’s support, and my paper round (and later a part time job) to fund lessons, I was able to follow my interest and now have a career as a drummer… My grandfather continued to support my drumming until he passed at the age of 103; I had the privilege of playing his snare drum for him as he gently slipped away.”
Like Rachel, Bec plays a whole host of instruments away from the kit. They studied orchestral percussion at the Victorian College of the Arts and plays all manner of tuned and un-tuned instruments: “if it can make a sound it is up for grabs,” Bec says: “I played the piano as a child but don’t really play anymore, it did influence my gravitation to tuned percussion however… It is rare these days that I do a gig just on drums or percussion. I often find myself operating shadow puppets, clowning, singing, delivering monologues or even doing stand up.”
Bec’s versatility as a musician extends to other elements of show productions: “I think that the same drives that have lead me to being a multi instrumentalist have lead me to theatre and live art” they said. “I like variety in what I do. I enjoy trying something new or approaching something from a different angle. When I make theatre I love being involved in all facets of it; not just the music. I think I have ended up being a percussionist for similar reasons. There is always an instrument I haven't played before, a new style to explore or an instrument to make. I think my brain is well suited to switching from one thing to another rather than perfecting one thing. I find it energising to work in this way.”
Also like Rachel, Bec has found that they use a lot more than just drumming skills in their professional life. In the case of Yana Alana and Tha Paranas, “a lot of the drive will come from my partner in life and art, Sarah Ward. She is quite prolific, however, I am involved in all elements of the creative process for this act. Sarah is the lyricist and writer but I collaborate with her on lyrics and scripts and make suggestions for arrangements of songs and sometimes even melodies. I also collaborate with her on concepts, narrative, costume and set for the shows along with a team of other wonderfully creative people.”
Bec lists versatility, love of collaboration, and ability to let go of ego as the best tools for a performance artist: “In a regular band my job is to serve the music, to support the melody, to make people want to dance or loose themselves in a groove. Of course in a regular band you can still transport people like you can in theatre but the focus is different. When I play in theatre I try to not worry about what other musicians might think of my playing. I have to let go of my ego and not think, ‘but this doesn't show me in my best light.’ This is true of playing music in general but for me it is heightened in theatre. For me a musician needs to serve the story or the image first. That sometimes means not playing what you may prefer to play but you get the reward of contributing to something bigger.”
Jo Franklin photo by Ruth Cunningham
Jo Franklin
Jo Franklin is also a member of Yana Alana’s Band The Homosapiens. Jo has always been drawn to drums: “I think some sticks fell into my hands around the age of 8 or 9,” she says” ‘... 2 words… Suzi Quatro... my sister used to bring her friends around to watch me play… true. Karen Carpenter was the first woman I saw play drums… no turning back…”
Jo is also an accomplished guitarist and theatre maker. She’s been playing in bands since she was 18, and “in 2007-09… conceived and produced a live rock/performance art based strip show called RockStrip. Backed by The Purring Furmaids a handpicked band from some of my favourite women musos.”
Like Rachel and Bec, Jo’s skills traverse music making to producing and curating live art, music, and performance. “RockStrip was my first creation from the ground up,” she says: “The marriage of live music and performance based strip in a nutshell. An idea that percolated over a year or so and then came together as things became clearer. The right combination of people, band members, performers and tech crew. The sort of people you just know can and will do what’s needed, whatever that is, is paramount.”
Jo is mostly involved in performance art projects at the moment, and emphasizes the importance of bringing “openness, ideas and flexibility mostly except when I’m having a super stubborn day. Doing what is best for the art is mostly paramount … Sound wise, I think I bring a lot of enthusiasm… to learn or at least have a go which is where those stubborn days can be useful.. I’m not locked into a sound or style and I like many, this also may be useful.”
She also talks about the importance and benefits of doing regular practice. “I try and play everyday even if it’s just for ½ an hour... if time’s thin on the ground. When time permits I can disappear for hours. I think I learnt from an early age the value/results of practice. If there’s something I’m trying to get on top of, I tend to incorporate it on a daily basis even if it means going over it in my head and visualizing it.”
Jo’s drumming is strengthened by her skills on other instruments. “I've always loved seeing bands that swap instruments,” she says. “It adds another layer to what you're witnessing. I'm always interested to see how someone approaches an instrument that isn't necessarily they're first ie: I've played with 3 bass players who's first instrument is guitar-it makes for a completely different approach, technique and sound. I think this definitely applies to myself. I also really love seeing players that just nail heaps of instruments-very inspiring … I love a challenge when it comes to taking on a new instrument and moving into the theatre/live art scene definitely expanded/encouraged this... As a part of a small ensemble it has really opened up what's possible sound and arrangement wise.”
