Antoine, thank you for taking the time to speak with Occhi magazine. Can you tell us about your introduction to music and what drew you to classical percussion initially?
From a very young age, I felt a deep connection to music, melodies, and sound. Around the age of five, I remember hearing songs on the car radio—The Beatles, Phil Collins, Elton John, Paul McCartney & Wings—and those melodies would stay with me all day. I’d hum them at school, playing them over and over in my head.
By the time I was eight, I had already started composing music on a Casio keyboard (the Casio DM-100 Double Dual Sampling) that belonged to my mom’s partner at the time. I was so fascinated by it that one day, I even pretended to be sick just to stay home and spend the morning playing and composing on it.
At nine years old, I decided to formally study music at the local music school in my hometown, Charleville-Mézières, in northeastern France, about two hours from Paris. I chose classical percussion because I was amazed by the wide variety of instruments in the percussion department—massive instruments like the marimba, vibraphone, timpani, and, of course, the drum set. From my very first lessons, my passion for music grew even stronger. I learned xylophone, snare drum pieces, and timpani, and also began developing basic drumming skills. Even then, I felt a special attraction toward the drums.
By the time I was 14, I had my first computer and a synthesizer, which opened up a whole new world of music-making for me. I started experimenting with music software, using samples to create electronic music. Around the same time, I got my hands on a Roland MC-303, a sequencer/looper that allowed me to program beats and melodies. This marked the beginning of my journey into music production, blending my love for rhythm with technology.
What inspired your decision to focus on drumming after high school, and how did your studies in Paris shape your musical style?
At the age of 13, as I was progressing quickly at my music school, my teacher suggested that pursuing a career as a professional musician wasn’t such a crazy idea—if I was serious about it. That thought began to grow on me. The plan was for me to finish high school and then move to Paris to study music. Initially, I set my sights on the National Conservatory in Paris, aiming to join the classical percussion division.
Classical music seemed like a safer career path, as it offered more state-funded positions, such as teaching roles in public schools and opportunities in national and regional orchestras. However, in 1998, I attended a classical music summer camp in the Massif Central region of France, where, for the first time, American teachers and performers were invited. Among them was drummer Dave Weckl—a name I had never heard before.
Attending his clinics was a revelation. Hearing him play opened my eyes to the full potential of the drum set, and I quickly realized both how much I had yet to learn and how far I wanted to go. At that moment, I decided to shift my focus entirely to the drums, with the goal of performing and improvising at that level.
Resources for jazz drumming were scarce in my hometown, and the internet was still in its early days—no YouTube, no Google. Determined to learn, I discovered that the music store in Paris where I ordered classical books also carried jazz drumming books and instructional VHS tapes. Dave Weckl had released two videos, which I ordered immediately. This became my first real introduction to serious drum study. Despite my limited English, I watched those videos repeatedly, analyzing every detail and trying to replicate what I saw and heard. Around the same time, I also got my hands on jazz recordings like Workin’ with the Miles Davis Quintet and Michel Petrucciani Live in Tokyo with Steve Gadd, which further deepened my understanding of jazz drumming.
After graduating from high school, I applied to two jazz programs in Paris—the American School of Modern Music and the Jazz Department at the Conservatory of the 9th arrondissement. Transitioning from classical music to jazz required me to adapt, learning jazz notation, theory, and repertoire. This was the true starting point of my immersion into jazz culture.Once in Paris, I began attending jam sessions—an essential part of my musical education. There, I encountered incredible musicians, some far more advanced than me, and I spent countless nights playing, listening, and absorbing knowledge from them. Those experiences, filled with music, conversation, and a lot of laughter, played a crucial role in shaping me as a jazz drummer.
Who were some of the key mentors or musicians you met during your studies in Paris and New York, and what impact did they have on your career?
While I was in Paris, I had the opportunity to meet several great musicians and study with many jazz teachers. I was eager to absorb as much knowledge as possible, always feeling that there was so much to learn and that I was still far from where I wanted to be. During my time attending jam sessions, two musicians I looked up to were Kevin Reveyrand, the bass player who later recorded on my album Status Quo, and drummer Francis Arnaud. I also had the chance to perform and collaborate with an incredible jazz pianist, Marc Benham, who played in the tradition of Oscar Peterson. Marc played a significant role in my immersion into jazz culture—his deep knowledge of jazz history was invaluable, and playing with him was a tremendous learning experience that helped me refine my approach to jazz drumming.
At one point, I recorded an extended open drum solo during a performance at a jazz club in Paris. I later used that recording to apply for the Eubie Blake Scholarship, which I was awarded, enabling me to continue my studies in the U.S. When I moved to New York City to study music, I encountered several musicians and teachers who had a major impact on my development. One of the first was John Riley, with whom I studied for a semester in the jazz program at the Manhattan School of Music. Under his guidance, I transcribed and studied the great jazz drummers in depth.
A pivotal moment in my journey came when I attended a music camp in New Jersey, where I had the chance to meet Dave Weckl in person—the drummer who would ultimately change my path as a musician. I went to the camp hoping for an opportunity to play in front of him, and I did. After performing in a small classroom setting with him as the instructor, he asked me to stay after class. We had a conversation about my playing, and he advised me to remain in New York and connect with musicians like Mike Stern and other key figures in the scene. Years later, that advice came full circle when Mike Stern recorded for my latest album, Status Quo. I also had the chance to take private lessons with him when he was performing in NYC. Those 3-4 hours of lessons were an incredible shortcut in my learning process—he immediately identified some key areas for improvement and helped me refine my approach in a way that would have taken much longer to realize on my own.
As I was about to graduate from City College of NY, a few French musician friends I had met in Paris were also nearing graduation from Berklee College of Music. There, they met another musician, Lulu Gainsbourg—the son of the legendary French songwriter—who was also about to graduate. Through them, I was introduced to Lulu, and we quickly became friends. I had the honor of joining his first tour in France and Japan for the release of his debut album. We performed his father’s music with unique twists, such as playing some songs in a batucada style or as up-tempo jazz arrangements. It was an incredible experience, especially getting the opportunity to travel to Japan, which made it even more unforgettable.
Over the past few years, I’ve shared many of my drum practice sessions on social media, recording and filming my process. Out of nowhere, I got an email from the great drummer Anton Fig, who had stumbled upon one of my videos. He reached out to see if I’d be up for a drum session. I was totally blown away—it really hit me that in a place like New York, opportunities like this can just appear. Since then, Anton and I have become friends. We’ve spent time together, checking out gigs and hanging out. He’s shared so many stories about his time playing on The Letterman Show and the amazing musicians he’s worked with throughout his career. I know I never would’ve had the chance to connect with someone like Anton back in Paris. That’s the magic of New York—endless opportunities to meet incredible people and expand your network.
I also had the pleasure of meeting the legendary bassist Will Lee through Anton. A year before my album Status Quo was released, I collaborated with them on one of my own compositions. I produced the track using samples and then brought in guest musicians to contribute. Anton Fig joined as the second drummer, Will Lee played bass, William Hudson provided vocals, and Gabriel Richards played saxophones. It was a bit of a trial run for the album to come. The track, titled “Power of Love” is available on my YouTube channel
How did moving to New York City influence your musical journey, and what were some of the pivotal experiences you had while performing there?
Moving to New York City was a challenge in many ways, especially as a foreigner. Adapting to a new language and lifestyle was just the beginning. To truly establish yourself as a musician in NYC, you first have to understand how life works here—it’s not easy. The city is home to some of the greatest musicians in the world, making it incredibly competitive and complex to find your place. On top of that, the high cost of living, which only seems to be getting worse, has forced many musicians to leave or even switch careers, pursuing music as a hobby instead.
For me, I eventually moved outside the city, where I now have the space for a dedicated drum room to record and practice. But during my time in NYC, I performed regularly at various venues, though most clubs didn’t pay well. Frustrated by this reality, I decided to shift my focus toward music production—something I had already experimented with when I was younger. I dedicated myself to learning new skills, particularly in mixing and production, and became increasingly interested in crafting songs in a more traditional format—verse, chorus, verse, etc.
A few years later, this decision paid off when I signed a contract as an artist/producer with Ultra Records (Sony Music). My connection to the label came through an unexpected route—I had been the private piano teacher for the children of Ultra Records’ president for years. He often encouraged me to send him music, though he never signed any of it—until one day, he did. That moment marked a major turning point in my career, solidifying my role as both a musician and producer.
My teaching job led me into some pretty unique situations, and I had the opportunity to meet a variety of interesting people. For several years, I taught supermodel Linda Evangelista’s son, and after many lessons, I would often hang out at her place. One evening, she invited me to stay and watch the Golden Globes with some of her friends. I didn’t know anyone there and had little knowledge of the fashion industry, but I ended up chatting with the person sitting next to me on the couch. I casually asked, “What do you do?” and he replied, “I’m a fashion designer.” When I asked, “How’s business?” he said, “Not too bad.” At the time, I had no idea who he was, but later Linda told me it was Marc Jacobs. I still didn’t know who he was, so I Googled his name afterward and found it amusing that I had asked him how his business was doing. Then, not long after, I saw an advertisement with his name on the side of a yellow cab, and it all clicked. It was one of those unexpected encounters that only seem to happen in New York City.
What are some challenges you faced in the music industry, and how did you overcome them?
The music industry comes with many challenges, and one of the biggest is sheer volume—there’s an overwhelming amount of music out there. Every day, over 100,000 songs are uploaded to Spotify alone, making it incredibly difficult to stand out and be heard above the noise.
The best way to overcome this? Don’t dwell on it too much—it can be discouraging. Instead, focus on what you can control: practice as much as possible, keep learning, and produce a lot of music. It’s also important to concentrate on one or two main areas rather than spreading yourself too thin. For me, those areas have always been drumming and music production.
Another major challenge in music is making a living from your art. Streaming revenue is low unless you accumulate an enormous number of streams in a short period—at least 2 to 3 million per month—which is difficult to achieve. For most jazz musicians, income often comes from teaching or performing at private events, which usually pay better than NYC music clubs. However, these gigs are also highly competitive, as many musicians rely on them to sustain their careers.
Your music blends jazz, funk, Latin, world, and pop influences. How do you approach integrating these diverse styles into your compositions?
I’ve never thought too much about style when composing—it’s always been more about a mood, a feeling, a vibe that lingers in the air. Over the years, I’ve absorbed so many different kinds of music without consciously trying to fit into any one genre. I sometimes wonder if I ever truly belonged to a single musical culture, moving from techno to classical, from world music to heavy metal, and to jazz.
And the more I think about it, the more I see how all these styles connect, especially when they make people move. Classical music had its own dance forms—waltzes, ballets, Hungarian dances—just like rap music fills clubs today. There’s always been this primal connection between rhythm and movement, between sound and the way it makes people feel in their bodies.
I also have a deep appreciation for music that breaks away from that instinct—music meant to create space, a mood, something light and almost meditative. I’ve released several ambient pieces that capture this essence, tapping into nostalgia and something beyond rhythm and movement—where sound just lingers in the air like a memory. It all depends on the mood. The next day, I might lean toward more groove-oriented material. But in reality, most of the music I create is driven by groove. I’d say about 95 percent of the time, my music revolves around groove.
Can you share how drummers like Steve Gadd and Tony Williams have influenced your drumming style?
Steve Gadd shaped my playing long before I even realized it. As a teenager, I was captivated by Dave Weckl—his precision, his sound—but I hadn’t yet traced his lineage back to Gadd. It wasn’t until later that I discovered Weckl himself was deeply influenced by Gadd, and suddenly, so much of what I admired started making sense.
Gadd is often regarded as the most influential drummer of the last 40 years, and for good reason. He redefined the sound of drums in the studio—close-miking every piece of the kit, creating that crisp, intimate presence we now take for granted. But beyond the technical innovations, it’s the way he plays that stays with you. His phrasing, his relaxed yet deeply intentional approach to rhythm, his absolute command of groove—it all feels effortless, yet it’s so precise.
When you watch him play, even without sound, you can see the time. It’s in his motion, in the way his body breathes with the rhythm. He doesn’t just play in time—he is the time. I discovered Tony Williams after high school while I was in Paris, and his story blew me away. Learning that he performed with Miles Davis at just 17 years old was nothing short of astonishing. I couldn’t believe how mature and accomplished his playing sounded on ‘Seven Steps to Heaven’ at such a young age. His creativity, his vision, and his technique were truly ahead of their time. He was a key figure in pushing the art of drumming into new directions. I wasn’t surprised to learn that drummers like Vinnie Colaiuta and Dennis Chambers were deeply influenced by him—his impact runs that deep. In many ways, everyone who came after him was touched by his innovations. He’s done it all.
What was the inspiration behind your latest album, “Status Quo,” and how did your love for big bands and horn sections play a role in its creation?
My album Status Quo is a reflection of many musical influences and is shaped by a wide variety of genres I’ve worked with or listened to over the years. It draws heavily from funk and marching band traditions, with a big band horn section and repetitive motifs often found in EDM. When composing the album, I produced the music directly in my DAW, using the same process I apply to my electronic music projects. I’ve always been a huge fan of big band albums, from Duke Ellington and the Buddy Rich Big Band to Maynard Ferguson’s Big Band, and of course, the legendary Jaco Pastorius Word of Mouth Big Band and The Birthday Concert.
I was determined to create an album that would mark a significant point in my drumming journey. After having the chance to practice drums intensively over the past few years, I felt ready to channel that into a real musical project, and Status Quo was the natural result. The album is simple and easy to listen to, yet it carries a great vibe, driven by groove and energy. It’s the kind of music you’d want to hear in the morning to help wake you up and pump you up for the day ahead.
How did you transition into the electronic music world, and what was it like working with Ultra Music/Sony Music?
I first started experimenting with music production as a teenager, inspired by the rise of the French electronic scene with artists like Daft Punk, Stardust, and Étienne de Crécy. I was fascinated by the idea of creating music entirely on a computer. However, after high school, when I moved to Paris, I shifted my focus to jazz and drumming, putting music production on hold.
It wasn’t until I moved to New York City that I reconnected with electronic music, largely influenced by the French duo Justice. Their sound reignited my passion for production, so I invested in a laptop, software, and spent countless hours reading books on mixing and production, watching tutorials, and practicing daily. I quickly realized that mastering production was just like learning an instrument—it takes years of dedication.
After graduating from college, gigging around NYC became frustrating due to poor conditions and pay. Not feeling entirely satisfied with that scene, I started spending more time producing and releasing EDM tracks independently. To further immerse myself in electronic music, I also invested in DJ equipment, learning to mix with a Pioneer DJM-900 mixer and CDJs (digital turntables)
Along the way, I began teaching private music lessons in NYC, primarily piano. Through word of mouth, my student base grew, and I eventually ended up teaching the children of the president of Ultra Records, Sony Music’s electronic division. At the time, I didn’t see it as a direct opportunity—I was simply focused on teaching—but he often asked me to send him music. For years, nothing came of it, but after about three or four years, they decided to offer me an artist/producer contract.
Signing with Ultra Music/Sony was an eye-opening experience. It was my first real look at the structure of these contracts—the advances, the sales recoupment model, and the optional single and album clauses. I also quickly learned that when you enter the industry as a newcomer, your leverage is minimal. The excitement of signing with a major label often overshadows the reality that the terms are rarely in your favor. It was a valuable lesson in how the business works and what it truly means to be part of the industry.
Eventually, after this experience—which I don’t regret—I found myself drawn back to my true passion: drumming and live music. While working in electronic music was an incredible learning experience, I realized that nothing compared to the energy and expression of playing live. However, the production skills I gained during that time proved to be incredibly valuable. They allowed me to mix my entire Status Quo album myself, giving me full creative control over the sound. The ability to blend my knowledge of both live performance and production has become one of my greatest assets as a musician.
What advice would you give to young musicians who are trying to find their own voice and navigate the music industry?
This is a tough question because everyone’s journey is unique, and shaped by different backgrounds, goals, and experiences. But a few key pieces of advice would be to follow your passion, truly love your craft, and be driven by a genuine desire to learn and improve. The earlier you start practicing or creating, the better. That said, if you begin later in life, don’t let that hold you back—you can still make significant progress with dedicated, consistent practice. It’s all about setting a clear goal. For example, when I was younger and discovered Dave Weckl, I knew my goal was to express myself on the drums like he does. The task felt monumental—like trying to climb the highest mountain in the world—but it gave me a high standard to strive toward, Over time, I found inspiration in other great drummers like Tony Williams, Elvin Jones, Brian Blade, and Vinnie Colaiuta. Their mastery constantly reminds me that I’m on a lifelong journey, always striving toward a higher level. Find your idols, set ambitious goals, and let the pursuit of excellence drive you forward.
The music industry is a very different entity from music as an art form. The industry is shaped by standards and norms, and at times, it can feel alien to those who create music. The people driving this industry often seek to exploit this normalized music for monetary gain, constantly in search of the next big hit (typically songs with 100 million streams or more). Having become somewhat familiar with this world, I’ve noticed that many people involved in the industry are not musicians or artists themselves—it’s a business. My advice to young musicians and artists is to understand these dynamics and, if they have the opportunity to be part of it, to proceed with caution.
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