Stephen Perkins on Mashing Up Styles, Blending Rhythms and Embracing Technology | Inside the Noise (S3, E4)

In the fourth episode of season three of Inside the Noise, Jane’s Addiction and Porno for Pyros drummer Stephen Perkins sits with Guitar Center CEO Gabe Dalporto to discuss the musical ideas that shaped one of alternative rock’s most distinctive drumming styles.

From jazz and African rhythms to hip-hop programming and electronic drums, Perkins has spent his career deliberately pushing beyond the boundaries of a single style.

“My feeling is there is no battle between electronic music and acoustic music,” he says. “There also shouldn't be a battle between jazz drummers and rock drummers. Everyone should blend."

Building Technique and Expanding Styles

At ten years old, Perkins started taking drum lessons with little more than drumsticks and a practice pad. For the first three or four years, his teacher focused almost entirely on rudiments, stick control and traditional grip. Perkins didn’t get a full drum set until he was 13.

“That's when I realized, I had to start working on my feet,” he says.

Early on, Perkins was inspired by jazz drummers, such as Elvin Jones, Buddy Rich and Art Blakey. Then, rockers—especially rock drummers with swing—entered the picture through players such as John Bonham, Mitch Mitchell and Charlie Watts.

“My first love was jazz,” he says. “Every jazz drummer had a distinct personality. But even with a love of jazz, I hit the roof. Then, embracing rock and roll, I hit the roof. I needed something else to inspire me. And that's when I started buying Latin records, Indian records and African records. I just wanted to feel the pulse and the rhythms of different drummers from different parts of the world.”

The Bass Player Who Changed His Drumming

Surprisingly, one of the musicians who most transformed Perkins’ approach to drumming wasn’t another drummer.

It was Jane’s Addiction bassist Eric Avery, who challenged Perkins’ initial drum part for “Mountain Song.”

“I didn't realize what a bass player’s role was until I met Eric,” remembers Perkins. “He was like, ‘That’s all I’m going to do.’ I asked him, ‘You’re not going to jam?’ And he said, ‘No, man. You write a drum beat as badass as my bass line.’ I had never thought of that. At the time, I was deep into Babatunde Olatunji and Fela Kútì , so I thought, ‘What would happen if I impregnated this rock and roll bass line with some African rhythms?’”

Perkins continued to buy records from around the world to absorb unfamiliar pulses, feels and rhythmic languages. Later, hip-hop had a similar effect. After playing along with Straight Outta Compton by N.W.A., his drumming changed again.

“I don’t want to sound just like me,” says Perkins. “I want to break free.”

Don’t Be Afraid of Technology

Although Perkins’ comfort zone remains an acoustic drum kit, he believes drummers should embrace electronic instruments.

“Don’t be afraid of change,” he says. “Don’t be afraid of what technology can do to music.”

Perkins says electronic drums, samples and hybrid setups can expand a drummer’s vocabulary without replacing the feel and personality of an acoustic kit.

Why Guitar Center’s Drum-Off Still Inspires Him

Perkins has hosted, judged and performed at multiple Guitar Center Drum-Off competitions, and he says the experience always surprises him.

“Drum-Off to me is so big in the sense that all these amateurs are practicing their butts off to get to the final,” he says. “And every time I see any of these guys and girls play, there are ideas that I haven't thought of. It’s like, ‘Wow. What records are they listening to? What drummers are they turned on to?’ I love the spirit of everyone practicing and competing. There is no ‘best,’ but there is a great moment when you see someone stand out.”

Get the Complete Scoop on Perkins

Catch the full conversation and other episodes of Inside the Noise with Gabe Dalporto on YouTube, Apple Podcasts, Spotify or any of your favorite major platforms. When you subscribe, you’ll get new episodes every Tuesday at 3 p.m. PT.