Brian Frasier-Moore Interview on
The TrevBeats Show 

Trevor Lawrence Jr. Welcome back to The TrevBeats Show. Today I'm joined by one of the greatest drummers on the planet, Brian Frasier-Moore. Brian has played with Madonna, Justin Timberlake, Janet Jackson, Usher, P!nk, Christina Aguilera, and many more. But beyond the incredible performances and massive tours, he understands something equally important: the architecture of a career. Today we're talking about what happens after the lights go down—the business, the preparation, the negotiations, the endorsements, and the mindset required to build a career that lasts. Brian, welcome to the show. Brian Frasier-Moore Thank you for having me, brother. Trevor Lawrence Jr. You just wrapped up another major run. Tell us about it. Brian Frasier-Moore I just finished a run with Eros Ramazzotti, who's an Italian icon. We toured from January through May, came home for a short break, then went back out for another stadium run. The experience has been amazing. Great artist, great musicians, great food, great people. We have a few more runs scheduled, so right now I'm home spending time with my wife and enjoying being off the road for a bit. Trevor Lawrence Jr. Before that you were out with P!nk for quite a while. Brian Frasier-Moore Yeah, we did festivals first and then a two-year run. Another incredible camp and another incredible artist. On Longevity and Professionalism Trevor Lawrence Jr. One thing I've always admired is your consistency. A lot of musicians face that industry mentality of "be grateful you're here because we can replace you tomorrow." How have you navigated that throughout your career? Brian Frasier-Moore The biggest thing is giving your all. Learn the music. Be prepared. Have your gear together. Be professional. Be respectful. I've had opportunities to return to gigs multiple times throughout my career—Madonna, Christina Aguilera, and others—and I believe that's because people remember more than your playing. They remember: Were you professional? Were you easy to work with? Did you learn the music? Did you create problems? Did you represent yourself well? If you're talented enough to get the gig, you've already proven you can play. After that, a lot of other factors come into play. Trevor Lawrence Jr. That's such an important point. People think getting the gig means they've made it. In reality, that's when the real work begins. You can be the most talented person in the world, but if nobody wants to be around you, your career won't last. Brian Frasier-Moore Exactly. The lessons our parents taught us still matter: Be kind. Be respectful. Handle your business. Don't let your habits supersede your art. Growing Up in Philadelphia Trevor Lawrence Jr. Let's go back to the beginning. Where are you from and what was your path into professional music? Brian Frasier-Moore I'm from Philadelphia, Pennsylvania. Like many musicians, I grew up in church. One of the biggest moments in my life happened when my mother took me to see Amy Grant at the Spectrum in Philadelphia. I was a teenager. The stage opened, I saw a drum set in the middle of the stage, and I told my mother: "That's what I want to do." That moment changed everything. I started playing around Philadelphia with people like James Poyser and members of the Touch of Jazz camp. Eventually Johnny Crume, who was musical director for Boyz II Men, gave me an opportunity to tour with Malia and Ginuwine. That became my first major tour. Johnny told me: "Every time I point at you, I want you to play everything you know." Because of that visibility, people saw me. That's how opportunities with Usher, Christina Aguilera, Eric Benét, and many others eventually happened. Preparing for Major Tours Trevor Lawrence Jr. What does your preparation process look like once you get hired? Brian Frasier-Moore I research everything. First I find out who was playing before me. Then I study the artist. Then I learn the music. If I receive a setlist, I chart every song. I write out forms and create shorthand charts so I know exactly where everything happens. After that, I put all the songs into Pro Tools and practice them repeatedly. I work on: Form Muscle memory Authenticity Alternate approaches Musical options Then I move into gear planning. Then samples. Then triggering. It's a complete process before rehearsals ever begin. Trevor Lawrence Jr. That's a humble approach because it says: "I'm here to serve the song." Not: "I'm here to do what I do." Brian Frasier-Moore Exactly. Building Drum Rigs and Working with a Tech Brian explains that his longtime drum technician Antonio Geary originally started as a consultation client. After extensive training and years of development, Antonio became Brian's trusted drum technician and collaborator. Rather than viewing a tech as an assistant, Brian considers him a true partner. Together they: Design drum setups Create stage layouts Build electronics systems Plan gear requirements Coordinate manufacturer support Endorsements, Signature Products, and Ownership Brian Frasier-Moore One thing I want people to understand is that getting a signature product is amazing. But it doesn't stop there. When I got my first signature snare drum, I was excited. Then I received the royalty check. I was earning about seven percent. At first I thought: "Wait a minute. I'm Brian Frasier-Moore." But then I realized: It's their wood. Their hardware. Their manufacturing. Their distribution. So I started asking bigger questions. How do I own more of the process? Eventually I became a distributor. Now my percentages are dramatically different because I own more of the business side. The lesson is simple: You have to handle business if you want business to be handled. Negotiation and Knowing Your Worth One of the most powerful sections of the conversation centers around negotiation. Brian Frasier-Moore It's okay to negotiate. You're not offending anyone. You're not going to get fired for negotiating. There's a fear in our culture that says: "Just be grateful for the opportunity." But negotiating helps everyone. You're helping the culture when you learn how to negotiate. If you don't know how, find people who can teach you. But you must learn. You are a business. You are selling something. Learn how to present it. Learn how to package it. Learn how to value it. Artist vs. Sideman Brian Frasier-Moore I hear people debating "artist versus sideman." I don't understand it. Do what's right for you. Do what's going to feed your family. Do what's going to feed your soul. For me, I got into the music business for business first. That's not a knock on artists. I respect artists. But I wanted a career. I wanted stability. I wanted to build a life. Playing with major artists has allowed me to do exactly that. Trevor Lawrence Jr. That's such an important perspective. Being a sideman isn't a downgrade. It's a legitimate, sustainable career path. Brian's Upcoming Album Brian also discusses his long-awaited solo project. The album began during the COVID lockdowns and was created almost entirely remotely. Each song represents a musical influence or pivotal moment in his life, including tributes to: Chick Corea Yellowjackets Film music that inspired him as a child Various genres that shaped his musical identity The album is currently in the mixing stage and nearing completion. Family, Legacy, and Perspective Toward the end of the conversation, Trevor highlights one of Brian's greatest accomplishments: Building a family through a career in music. Brian shares that he has: Three grown children Three grandchildren And reflects on the importance of maintaining strong family relationships despite decades on the road. Brian Frasier-Moore I want to thank my children. Thank you for allowing me to pursue this life while still loving me. My relationship with my children today is incredible. I'm proud of every one of them and proud of my grandchildren too. Closing Thoughts This episode is a blueprint for building a lasting career in music. Brian Frasier-Moore's success wasn't built solely on talent. It was built on preparation, professionalism, relationships, business acumen, negotiation, and a commitment to serving the music at the highest level. For musicians and creatives looking for a sustainable path forward, this conversation offers lessons that extend far beyond the drum set.