Trevor Lawrence Jr.: What’s the one habit or discipline that will help an up-and-coming musician grow the fastest over the next five to ten years—regardless of genre? Thomas Lang: In terms of real skill, it remains what it’s always been: practice—and playing with other musicians. That’s the essence of what we do. It’s how you build true command over your instrument, and how you learn to control the music in a social environment—communicating with other musicians and delivering that to a room full of people. That skill will never go away. [Intro Music / Show Open] Trevor: Okay everybody—today we have someone who’s been one of the powerhouses of our instrument for the last several decades. An incredible musician, clinician, and drummer… and just an affable guy. Without further ado, I want to introduce my good friend, Thomas Lang. Thomas: What’s up, bro? Trevor: I’m good, man. Thank you for being here. Thomas: Thank you for having me. When Trevor calls, I’m like—yes sir. Trevor: I appreciate it. I’m trying to give people the full gamut—different styles, personalities, generations. Thomas: I’ve seen some of your recent episodes. I love it. From DVDs to Viral Clips: Are Drummers Better Now? Trevor: I remember watching your Upstaging Yourself DVDs—decades ago. Now it’s 2026, and there’s a generation raised on 60-second viral drum clips. Do you find students today have better physical facility—or worse? Are they more prepared than before? Thomas: That’s a really interesting question—and I’ve seen both. There’s a clear division. Some people struggle technically and musically, even though they have access to more information than ever. And on the other hand, some are incredibly advanced. In my camps I see the whole panorama. The best students use social media for inspiration, but they also supplement it with traditional sources—teachers, proper schooling, listening to music, going to shows. Then there’s a much larger percentage—maybe 90–95%—with giant holes in their playing: technique, musicality, education. They focus on very limited sources like TikTok/Instagram clips. They can do a few gimmicks, but they don’t have profound skill. Thomas Lang’s Foundation Trevor: A lot of people know you for the blistering chops and independence, but not your foundation. Give us the background. Thomas: I’m originally from Vienna, Austria. I started playing around age five and had formal lessons for close to 20 years—private teachers, Conservatory of Vienna, Music Academy, and lessons with people I admired. In my teens I started working in clubs around Vienna, then bigger artists over time—local to national to international. I moved to London and lived there for 15 years, working with British and European acts, touring worldwide. Then I moved to the U.S. about 22 years ago. I’ve worked as a sideman—recording and touring—also as a writer, producer, composer, and in education, specifically drums. I’ve tried to keep many balls rolling for decades, and I’ve been lucky to make it work for around 40 years. Touring + Clinics + Longevity Trevor: You’re still out there, touring and doing clinics. You just got off a tour—how long? Thomas: The last one was five months. But last year—2025—I was on the road for close to eight months. Trevor: That’s serious. Time Management + Self-Booking Trevor: How do you approach time management when you’re stacking touring, clinics, sessions—often in other countries? Thomas: It’s loaded. I manage myself and do most of my own booking. Not because I don’t want to share a percentage with a manager—it’s because I need control over all the moving parts: travel, scheduling, gear, logistics. Usually I’ll know key commitments early—maybe two weeks with an artist here, a month-long tour there. I look at where the gigs are and ask: how can I supplement this trip with additional work? Who do I know in that city? I reach out: producers, writers, artists, drum shops, universities, sponsors. I’ll tell sponsors: “I’m already going to be in the UK—can we bundle clinics?” It saves money for everyone. I usually plan 3–4 months in advance so there’s time for promotion. Most things fall into place because it’s the most efficient way—someone just has to pull it together, and that’s usually me. Trevor: And you’re not waiting for someone else to make it happen—you’re reaching out, using relationships, being persistent. That’s how things get done. Biggest Mistakes Young Musicians Make “In the Room” Trevor: Technique gets you in the door, but what happens once you’re in the room keeps you there. What’s the biggest mistake you see young people making today? Thomas: There are many. But the dynamic has changed. I’m surprised how unprofessional many situations are compared to how it was when I grew up—where time mattered, you showed up prepared, knew your stuff, and were the hardest worker in the room. I see mistakes in organization and logistics—no plan, poor execution, missed timing, budget issues. And I see arrogance and overconfidence: “I’m the boss, I know everything.” That’s usually a mistake. Also: lack of skill, lack of preparation—big mistakes. Triggers, Electronics, and Hybrid Setups Trevor: I don’t see you using a huge amount of electronics in clinics—yet you’re building so much manually. How do you view triggers and hybrid setups? Thomas: First—get your acoustic drum set playing in order. Be the best drummer you can be. If you can play an acoustic kit well, there will always be demand for electronic sounds in modern music. Electronics are essential. It’s like a synthesizer you play with sticks. Sometimes you must reproduce authentic record sounds live—effects, claps, reverse cymbals, booms—whether that’s an SPD-SX, triggers, whatever. You need to know how to use it, program it, modify it. I’ve been a Roland endorser since 1997 and use electronics regularly—home practice, studio, live. We need to play both electronic and acoustic drums equally. It’s not “better/worse.” It’s like acoustic piano vs synth—you need both. AI: Practical Use vs Fear Trevor: How do you use AI? Thomas: I use ChatGPT and Gemini a lot for business and office work. It saves time and is inspiring and informative. In music, I have a Suno subscription and have experimented with it. I’ve used it for inspiration, ideas, quick demos. I’ve also seen it in studios—someone needs an uptempo idea quickly, prompts Suno, five minutes later you’ve got a direction, and you start building. AI is established now as a working tool. Companies are using it for alternate versions, remixes, cues for TV/film/games. We have to learn to live with it and use it as a tool, not as a replacement for creativity—like a drum machine. People were paranoid about drum machines decades ago; it didn’t replace drummers. Drop the paranoia. Embrace the tech. Use it well. Trevor: Don’t be scared of technology—embrace it. The Future: Human Music vs Synthetic “Consumer Music” Trevor: So—back to the original question. What’s the one habit or discipline that helps musicians grow fastest? Thomas: Practice—and playing with other musicians. Everything else you do alone—studio, cameras, social media—can be cool, and it’s become a career for many. But I believe the future will show a clear division: human musicians performing at a high level for people who care about musicianship… and synthetic/AI-generated “consumer music” for people who don’t. If you want real growth as a musician, focus on traditional musicianship: play an instrument, communicate with others, perform for people. That’s the art. A Standout Career Moment Trevor: Give me one moment in your career that stands out—good or bad. Thomas: Early in my career, the first time I played a huge stage and felt the power of what a band can do to a large audience. In the ’80s—pre in-ears—everything blasting. I remember stepping on the drum riser at soundcheck and hearing it through the entire venue. Then playing the show and realizing you can have 15,000 people in the palm of your hand—just from a beat. That feeling hooked me. You want it again and again. It’s not about playing complicated things. It’s about the exchange of energy between band and audience—the power of music. What Thomas Has Coming Up Trevor: Anything you want to share—what’s next? Thomas: I’m in the studio catching up on recording work and writing for an artist in Europe. Education is always a big part of what I do—go to UpstagingYourself.com for info and courses. I’m preparing new courses on bass drum technique. I also curated a massive educational program for an app in Europe called MyGroove, sponsored by Red Bull—over 2,500 exercises in a high-tech app. Touring, shows, camps—those continue too. Social: @ThomasLangDrum. Home Studio Trevor: How long have you had a home recording setup? Thomas: Since 2005—over 20 years. And before that, since the late ’80s I was composing/producing on computers—sequencers and early setups. Late ’90s I started recording drums at home, and since 2005 I’ve had a proper studio for drums and everything else. Trevor: Thomas, thank you so much. We’ll definitely do this again. Thomas: I’d love to. Trevor (Outro): That was a great interview—truly inspiring. Check the description for the gear list and merch, and find more at trevorlawrencejr.com. Don’t forget to like and subscribe.