Kevin Hein: Between Drumsticks and the Spotlight (englisch edition)

Photo: Leodays

From indie sets to metalcore stages: Kevin Hein talks drums, session gigs, and his own projects.

Interview: Mia Lada-Klein

Kevin Hein isn’t a drummer who just keeps time – he lives music. Whether it’s punk rock, indie, metalcore, or even country, he’s shaking things up as a session drummer, solo artist, and band member. In his mid-twenties, he’s already conquered London, played shows, launched his own projects, and carved out his own style on the drums. In this interview, he talks about moving to England as a teenager, why British bands mean more to him than just music, and how passion and the spotlight come together in his life.

Hi Kevin, let’s start right at the very beginning – as if God, or whoever invented drumsticks, handed them out and you were first in line. I know you as the drummer for Casino Blackout, but you’re juggling your own projects too and seem to be more of a solo artist anyway. So, let’s cut to the chase: Who are you really?

I started drumming when I was nine or ten. At first in school bands, and then it quickly became clear I wanted to take it more seriously. I just wanted to spend more time on music. Around 14 or 15, I started researching my options, and after finishing school, I moved to London. Back then it was still easy because England was in the EU. I wanted to get to know another country and check out the scene there. Since then, I’ve basically stayed. I played shows, taught drums, and built a broad foundation for myself. At some point, I decided: I’m staying here.

You’re still pretty young, mid-twenties. When exactly did you move to London? I’m picturing a teenager just saying, “Okay, I’ll move to London now.”

(laughs) Yeah, that was actually after graduating high school. I looked at different universities, like the Popakademie in Mannheim, but I wasn’t too keen on that. Berlin was another option, but I felt pulled toward London. A friend of mine went to Los Angeles, but that was more complicated because of work permits. I wanted something more long-term. And since the UK was still in the EU, moving was fairly simple. Just a flight of less than an hour.

But you’re doing so many different things. Casino Blackout almost feels like a side project, since you’re already fully in the music business. Can you explain that a bit?

Sure. First and foremost, I’m a session drummer. That means I help out with different projects, whether for bands or solo artists, and I get booked for shows or recordings. With Casino Blackout, they were looking for a drummer for the Rogers tour. Flo from the band found me on social media because I post drum covers, and I’d also worked with a rapper from Vienna via Spotify. That’s how we connected. I was already up for playing punk rock again since I usually play indie acts here in England. So I said yes. On the Rogers tour, Sperling was also there, and when their drummer got sick, I jumped in for them too. It worked out so well that they asked me again later. Things often connect like that.

What’s your main musical direction? More electronic, more rock? What’s your thing?

Hard to say, because it’s so mixed for me. In Germany as a teenager, I played a lot of metalcore – that was my musical training ground. In London, I played a lot of pop and indie because the scene is huge here. These days, I range from indie to punk rock to country. I even worked with a US country singer. But if I had to categorize it: I’m more rooted in the alternative and heavier side of things, that’s still what I enjoy most.

Metallica calls! Would you drop everything?

Would you ever want to be a permanent member of a band – full creativity, tour bus chaos, the whole package? Let’s imagine Metallica calls you, James Hetfield crying on the phone because Lars Ulrich doesn’t want to drum anymore. You’d have to ditch all other projects. Would you consider it, or tell him, “Nah, I’ll stick to my own adventures”?

Yeah, like we talked about before, that’s actually my goal: to find a steady project where I can contribute creatively and not just play finished songs. Being with the same people long-term, sharing a vision – that’s definitely the aim. The tough part is finding bandmates with the same level of commitment. Doing music full-time takes a lot of time and money – touring, hotels, gear. Everyone has to be willing to prioritize it. For me, the financial side isn’t the problem because I’ve built a solid foundation as a session drummer and teacher. What matters more is that the other members have experience, know what’s involved, and are truly 100% behind the project.

So, band life costs money, time, nerves. Many underestimate that. I imagine it’s especially tough for you since you’re constantly switching projects. Do you still feel like part of a family, or is it more of a job when you’re just filling in for weeks or months?

Both, I’d say. Of course it’s a job, especially as a session drummer. But it depends hugely on the personalities. I’ve played with bands where the chemistry was immediate, and others where it was harder. But when you’re on stage with a band, there’s almost automatically that sense of togetherness. It’s different if you’re backing just one solo artist versus being part of a band unit. In rock and alternative settings, I enjoy it much more because it feels more like “we” and less like just “accompaniment.”

So does that mean your next permanent band should be on the heavier side? No polka band?

(laughs) No, polka’s not for me. I’ve had offers from the indie scene, but if I commit long-term, it has to be a style I can play with full passion. Post-hardcore, metalcore, alternative rock – that’s the music I grew up with and where I can express myself best.

Which bands shaped you?

Bands like A Day to Remember or Bring Me the Horizon. That whole alternative scene is inspiring to me.

You’ve played with Casino Blackout. How was that for you? Pure ecstasy or just a gentle head nod? Now you’ve got the license to go all out. Don’t worry, this stays between us cough, I promise I won’t publish it.

No, they were great. Really nice guys, and the tour was a highlight for me. We’re still in touch – I catch up with Flo or Roman sometimes. I also told them: If they ever need a drummer again, I’m happy to step in. For a long-term collaboration, the distance would be an issue since I live in England and they’re in southern Germany. But the experience was definitely amazing.

Seriously though: Would you look for your next permanent band in England, or would Germany also be an option?

Location doesn’t matter much to me – it’s more about the band’s direction. One important factor for me has always been language. English-speaking bands just have a bigger reach. You can tour internationally – Czech Republic, Poland, Italy, Spain. With German bands, you’re more limited to German-speaking areas. Of course, writing in German has its charm too – I’ve talked about that with Sperling or Flo. But as a drummer, English is more exciting for me since I mostly listen to English-language music anyway.

Band, stage, and drums: passion meets reality

Let’s talk about your instrument. Drums are a full-body instrument – hands, feet, timing, coordination. Personally, I find that impressive. What makes a good drummer in your eyes?

People disagree on that. Some focus on technique, others on speed. For me, it’s all about personality: your own style. A good drummer shouldn’t fake it or copy someone else but develop their own signature and have fun – and share that fun. Technique matters, sure, but the key is to move people. There are countless examples: Travis Barker, for one. Many criticize him, others love him. Fact is, he’s inspired millions to start drumming. Same with Lars Ulrich at Metallica. People laugh at him, but he co-wrote some of the most iconic albums and influenced a whole generation.

Sounds like you listen more with passion than analysis. But can you still enjoy music casually, or are you always evaluating as a drummer?

Depends on the music. With alternative or rock bands, I automatically pay closer attention: What’s the band playing, how are the drums placed, where’s the focus? That’s a bit of an occupational hazard. But it’s not like I’m only looking for mistakes. It’s more conscious listening. At the same time, I also enjoy music where drums aren’t central – German rap, pop, sometimes even schlager. There, I just listen for fun.

Schlager – didn’t see that coming! We’re already close to polka. How would you describe your own drumming style? Is that something you define for yourself, or do you prefer others to categorize you? Often, self-perception and outside perception don’t quite match.

That’s true, and it’s definitely one of the most important questions for drummers. I don’t think you ever fully know who you are on your instrument, but there are always influences that shape you. At 14, 15, I idolized certain drummers and wanted to be exactly like them. Today I try to take bits and pieces from different styles and personalities and turn them into something of my own. It’s evolved and shifted over the years.

So more of a process shaped by experiences?

Exactly. It also depends a lot on who you’re playing with. Even the way you set up your kit says a lot. For example, if I’m playing a session gig for a country singer, I focus mainly on making it sound good and staying subtle. Then I skip stick tricks or flashy outfits, maybe just wear a black T-shirt and stay in the background.

And in your own projects, it’s different?

Absolutely. There, it can be bold and flashy. In my own projects, I even add colors to the toms. I’ll use big, deep toms, flat cymbals, wear tank tops – just making sure the drummer is visible and has an active role. That includes stick tricks and visual elements. But always controlled – anything I show on stage is something I’ve practiced thoroughly so it doesn’t look forced.

Interesting. I’ve interviewed several drummers, and it’s fascinating how differently the instrument is staged. Some deliberately hold back, others step into the spotlight. In the band Ten56, for example, drummer Arnaud Verrier steps forward with a guitar on some songs and steals the show. And there are even bands where the drummer is also the frontman.

That’s exactly what I find so exciting. There are two sides: in the studio or rehearsal room, it’s about precision and musicianship. But live, people buy a ticket not just for sound, but for the show. And a show today means more than just playing well. It’s about energy, stage presence, and how the band as a whole comes across.

Thanks so much, Kevin.

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