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My time performing in Hundred Days at La Jolla Playhouse was a dream come true. It was a pleasure to get to work each day with some of the most artistic, compassionate, and talented people I've ever met. I can't wait to start up the show again in Tampa in January. Until then, I'll be walking, I'll be walking.
📸: Lindsey Augusta Mercer
The cellist is naked! The throne is falling off the riser! What kind of show is this??? Let’s take a look at my setup for Hundred Days here at the La Jolla Playhouse!
La Jolla Playhouse provided me with this black Gretsch Catalina maple kit. It was amazing not having to worry about schlepping drums across the country or setting up a rental in San Diego. The kit sounds great. We are expecting some new heads to arrive any day now.
AVIOM land is a good scene! I have two running here: One for each instrument and voice and a dedicated one for just the drum mix. We are all using in-ear monitors which has been a godsend. I may never be able to go back to a wedge again!
Drum key and Moon Gels in an accessible position in case of emergency.
I’m using my trusty SPD-SX for this one. I’ve built 12 kits (some of which are just running click tracks). The electronics add a nice element to this show. All sounds were provided by the composer, Shaun Bengson, except for a few 808 bass drums and claps. I’ve enjoyed working with our sound designer, Nicholas Pope, on dialing in levels and effects for each sound. I have a few glow dots on the machine so I know where to hit during two black out sections.
I’m running a pedal trigger out of the SPD-SX for bass drum and other sounds and using a foot switch to turn the click track on and off. More glow dots!
I finally get to put those contemporary percussion ensemble skills to use during a song that features bowed crotales. It’s a nice effect for the piece and serves as a few meditative minutes for me to re-center and think about what’s coming up next.
Oh yeah, I’m a singer now! I sing harmony on a few songs. It has been a challenge for sure, but I’m surrounded by many amazing and supportive singers who are always uplifting.
The show runs in San Diego through October 21. If you are in the area, come on out to a show! Otherwise, perhaps I’ll see you this winter in Tampa or Miami!
Hello from Day 2 of rehearsals for Hundred Days. Things are going along swimmingly! I’m an actor now! In addition to drumming for the show, I do some singing and choreography. Pray for me! Here’s a pic of my rehearsal setup. The midi keyboard is not part of my track, it’s just to help me with the vocals, as I’m singing on stage for the first time since singing a song from Annie at my seventh grade choir concert. Yikes.
Vérité is the truth, ya'll. It was a pleasure to backup Kelsey with an all-female orchestra at National Sawdust last night. She has a rabid fan base and it was heartwarming to watch the audience sing along to every tune. Thanks to The Hum and Kristine Kruta for making this happen!
Back at the Bunker for the first time in a minute. My outfit was very much in coordination with their Ludwig house kit and my Rogers snare, which was having a particularly great day. More on this recording soon!
Thanks to Cameron Kinnear, who I first met on Grinch last year, for having me at Lake Dillon's gala last week. We played a wonderful program consisting of blocks of music from Cole Porter, Pasek & Paul, and women composers of New York. Colorado was amazing. I hope to be back next year!
"Thank you, New York Musical Festival, for awarding us with a Special Citation for Representation & Inclusion at last night's Closing Night Party and Awards Ceremony. Interstate made it a priority to work with and hire individuals who identify as women, POC, and/or LGBTQ to tell this story of underrepresented folx."
I had the pleasure of being the rehearsal drummer for Cape Playhouse's upcoming production of Altar Boyz. It was my first time working on a show from it's absolute beginnings. I was incredibly impressed with the leadership of director/choreographer Jason Sparks and his associate, Gina Duci, as well as the dancing and singing capabilities of the 5 performers. It was a fun and rewarding challenge to work literally measure-by-measure with Jordan Jones-Reese, who I first collaborated with during The Grinch in 2016. If you're in Cape Cod over the next two weeks, I highly recommend checking out the show!
Happy closing to my @interstatemusical fam! The V-Drums haven't killed me...yet! 🗡
A post shared by A. Baier (@ay_bear) on
We closed Interstate last week after 6 shows. I wish we could've played at least 6 more. Thankfully, I think this is only the beginning for this powerful show.
Because there's such a quick turnaround and it's easier to control the sound, every drummer playing a NYMF show has to play the provided electronic kit. I've used the Roland TD-30 in the past, but this was my first time programing it. I built 4 kits and setup a kit chain for the show. It was a pretty easy & intuitive process, as is usually the case with Roland.
If you saw the show, please considering voting Interstate as the best of the fest!
Ashley Baier is a NYC-based drummer and percussionist.
