Bringing the secret percussionists, who tour with Britain’s Indie-Rock bands, to the front of the stage. 

Touring percussionists are an often overlooked yet essential part of a live show. They lurk towards the back of the stage, staying away from the spotlight. But their role cannot be undermined; they are the beat keepers and the energy bringers. It’s about time we hear their voices. 

Being part of worldwide tours, performing on stage for 100,000 people, playing the first notes the audience hears, all without actually being in a band. That’s the life of touring musicians who play on stage but are not granted official band member status. So, who are these seemingly secret members, and why are they there? 

It is more common than you may think for bands to utilise touring musicians; it’s a practice undertaken by The Rolling Stones, Arctic Monkeys, Fleetwood Mac and U2, just to name a few. They add percussion, horns, strings and more, bringing what was recorded in the studio to the stage.  

Davey Latter is a percussionist and a drum technician for Arctic Monkeys. He joins the call from Los Angeles, where it’s approaching midday. I get a glimpse of a bright blue sky as he strolls around his garden, granting me a look into his life between tours; the rescue dogs, drums in the garage, the roadie toolbox adorned with Arctic Monkeys stickers next to his daughter’s toys. 

Davey’s path to where his career stands today is a well-worn one for people like him in the industry. He’s been a musician since the mid 1980’s, playing in many bands over the years. But to keep touring with his own bands was sadly not financially viable, prompting the switch to the roadie side of the industry. Since 2008, Davey has worked as a drum and backline technician for a number of bands, joining some on stage as a percussionist. 

“I made it clear; I didn’t want to be a roadie. So, I said, “If I’m gonna do this, just work for bands you love.” He says in his Californian drawl. He stayed true to his promise, working with other legendary acts like Queens of the Stone Age, the Pretenders and Jack White. 

John Simm, like Davey, is a multi-use, multi-talented guy on tour. He’s a production manager, tour manager, sound engineer, drummer and percussionist. Most notably for indie-rock band Blossoms. 

He explains why touring musicians like him and Davey are needed on stage: “It’s quite difficult to get across the full scope of an album because you spend so long in the studio, and all the little intricate details on certain songs give a very specific feeling or emotion. You’ll get 80% of it just playing the basics- drums, guitar, bass, vocals, keyboards. 

“But to get that final bit, you need all elements of the songs to be part of the live show. And you can put that on track, and that’s generally the accepted modern way.”

But that is not the sound Blossoms were aiming for. “They wanted to be a bit more live and make every show different. The energy changes a lot when you have more people on stage, everybody pulls in different directions and does little different things every night.”

“Especially with Arctic Monkeys, there are three or four utility guys. It’s not just the band; it’s Tom Rowley on guitar and Tyler Parkford on keyboards. It’s a four-piece band turned into a seven-piece band.” Said Davey, crediting the other musicians who take to the stage with Arctic Monkeys. 

“When they make these records, there’s a lot going on. With the Monkeys there’s lots of tambourines, shakers and bongos.” 

I question why don’t they join the band officially then? But this is clearly not a question Davey has. “It’s always just going to be those four guys at the nucleus.” 

And he doesn’t feel part of the band. “I’ve been in bands and done the records and photo shoots. With these guys I’m literally just a utility guy. For that hour or two on stage it does feel like I’m part of it. Then, when they finish, I’ll change into my roadie scrubs and start putting away. It’s alright, but it would be nice to just be in the band.”

Although it does bring a welcome but somewhat peculiar balance to life. Playing in front of tens of thousands of people but retaining their anonymity. Something Arctic Monkeys do not experience, nor have they been able to for many years. 

Davey said: “The bands I was in were never famous or that successful. Once in a while, I’ll be walking in the town we just played in, and somebody recognises me. Like, yeah, I’m the idiot with the shakers. But I feel bad for Alex and all those guys. Can’t even go outside their hotel. Gnarly.”

But this also raises the question of whether they get the credit they deserve? 

“There’s no credit necessary and no credit wanted. I don’t think audiences know or appreciate it, and I’m totally fine with that. I know my place in these bands, it’s a very minor role.” Davey replies bluntly.

John has worked with Blossoms in varying capacities for a decade, forging a firm bond. “They’re a great bunch of lads to work for. We’ve got a good camaraderie between all of us because we’ve all been together doing this for quite a long time. It feels like we’re in a really good spot where we’re just sort of working off the energy of each other, trying to make the best show we possibly can.”

The relationships formed on tour are unsurprisingly strong, given the amount of time spent together. Davey refers to the Arctic Monkeys guys endearingly, calling frontman Alex Turner ‘Al’, and describing how they hang out between tours. But away from the working relationships, he’s got something extra special to thank the band for. 

It’s down to them that he met his wife. It’s a story that almost sounds like it’s straight out of a film. It was 2014, he was on stage at Finsbury Park, she was a fan in the VIP section.

“She was standing in my roadie area, kind of crowding my space. I was up there playing the tambourine and giving it an extra ass shake because I knew she was watching. We kept making goo-goo eyes at each other. 

“Next thing, we’re eating pizza together. Then I had to leave the next morning to come back to America. We promised to keep in touch. Then she shows up on my doorstep with her luggage, saying she was moving in. Next thing you know, I’m married to her.”

But working in music is not always this romantic or glamorous; John’s true passion lies in playing, but his many job roles highlight just how unstable and unpredictable a job in music can be. “If I had the option to be a full-time drummer and percussionist, I would do that.

“But there’s not always 100% of the work available to you at all times. So, you need to be able to chop and change and do whatever you can to continue working as a self-employed person in the music industry.” While he does enjoy his varied work, it’s a necessity to survive in the sector.

John and Davey are aware of each other and are quick to tell me how great the other is. By now, both have been in the industry for a while; their attitudes have changed. Being out on the road is tiring, always jumping from one job to another.

“There’s alwaysstress about lining up the next one. But it always seems to work out.” Said Davey. 

John said: “I know I used to say yes to absolutely everything when I was younger, I’m trying to be a bit more discerning now I’ve got a bit older. But it’s hard. You still want to say yes to everything because you want to work with as many people as possible, because it’s just really good fun.”

Surely, for Davey, not much can top the show where he met his wife. It changed his life, giving him his wife and daughter he speaks so fondly to me of. But touring with a band as big as Arctic Monkeys means insane shows are pretty much in the job description. Like a show in Argentina on the last tour, where they played to a festival crowd of 100,000. 

“I thought the whole world was going to collapse. We opened up with Brianstorm, and it was just too much for these people. The security guy came out and told Alex we’ve got to stop the show and calm down for a second. I’ve done a million shows with those guys, and we’ve never had to stop a show because the crowd was exploding. I’ve never seen so many people lose their minds. How do you get 100,000 people to take one step back?”

Of course, there was one big question for Davey. Does he think Arctic Monkeys will be making a return in the near future?

“I’m not one to say- I sure hope so. I hang out with Matt Helders like every other day, and I ask him the same thing. He just shrugs.

“I’m counting down the days till they start back up again.”

John and Davey are undoubtedly crucial elements of their live shows. I have seen them both play over the last few years and can vouch for what they bring to the stage. They are responsible for making it a truly live performance; something it would not be if the bands relied on backing tracks. And whilst they are not seeking extra credit for their roles it seems they deserve it. So next time you go to a gig, dedicate a bit of that applause to the extra and unofficial band members on stage and appreciate the role they play in bringing the music to life. SA