David Gibbons

David Gibbons, a self-taught drummer from Birmingham, details a musical journey deeply influenced by his Jamaican heritage and diverse musical tastes.

His drumming talent emerged early, “stealing his mother’s pots and pans” to play, and soaking up reggae music from his father’s collection. He learned by ear, listening to a wide range of artists from Aretha Franklin to Minnie Riperton, paying attention to all instrumental parts, not just the drums. He never had a formal drum lesson.

His first “performance” was in junior school with keyboardist Dennis Jarrett, where he played conga drums and cowbell for assemblies, creating popular grooves. At Handsworth Wood Boys School, music teacher Mr. Fraser provided him with his first full drum kit, allowing him to apply techniques learned from Bunny Dryden (using pillows as practice pads). He, Dennis, and bassist Robin Watson formed a trio, jamming and performing at Birmingham Town Hall as inner-city kids alongside private school peers. After school, Dennis pursued a full-time career playing for reggae artists.

He played for Hazel Watson’s band and Audrey Mattis’s Chorale, touring Germany and experiencing its welcoming culture. His session work expanded to backing major artists like De Lacey, Gabrielle, and Shaun Escoffery.

However, David struggled with the church’s disapproval of secular sessions. He recounts refusing to compromise his principles by smoking cannabis with an artist before a gig, leading to his removal from the tour. This incident, combined with the unstable payments in the secular industry, prompted him to leave full-time music and pursue social work.

Despite his career change, David continues to practice drums daily and takes on occasional gigs, collaborating with artists like Robin Watson and performing at Symphony Hall. He emphasizes that the “best things in life is free,” referring to the knowledge freely shared by mentors like Frankie Allen, Errol Ruddock, Vindel Watson, and Bunny Dryden. He recalls a damaging sermon at a youth convention that condemned secular music, leading him to destroy his secular records out of guilt. He later realized this was “spiritual manipulation,” asserting that his relationship with God is paramount and he shouldn’t live his life for others’ interpretations. David advocates for spreading love and unity among black people, believing they are “kings and queens” who need to reclaim their rightful place in leadership.