Download Ash Soan’s Drum Grooves Here
It’s a grey morning in Norfolk. Rain taps gently on the window of the Marsham Arms, where we’re staying ahead of a visit to one of the most quietly iconic drummers in modern music, Ash Soan. The birds outside are briefly silenced as we joke about the weather, but anticipation builds. We’re off to see the studio and home of a man whose groove has shaped records from Adele to Snow Patrol, Cher to Tori Amos.
Ash Soan isn’t just another name in the session world. He is a cornerstone of British rhythm. Currently the drummer for Snow Patrol and Tori Amos, Soan has also graced the stages and studios of artists such as Seal, Van Morrison, Bryan Adams, Sinéad O’Connor, Marianne Faithfull, Squeeze, The Waterboys, The Trevor Horn Band, and Mike Oldfield. In the studio, his discography reads like a pop and rock hall of fame: Alicia Keys, Dua Lipa, Cher, Robbie Williams, Billy Idol, Adele, Taylor Swift, and dozens more.
The Windmill Studio
Ash greets us at his unique recording space, a beautifully converted windmill. “We were originally going to do the barn,” he says, “but it was too expensive to even get it airtight.” A friend suggested repurposing the old mill’s buttresses using straw bales and lime render for a green build. It cost less and, as it turns out, sounds phenomenal. “By accident, it sounds pretty good.”
The studio has hosted legends. One of the most memorable visits came from our mutual friend, producer and engineer Steven Lipson. Known for his pioneering work with Frankie Goes to Hollywood, Annie Lennox, and countless others, Lipson is widely regarded as one of the greatest engineers in the world.
“Steven and I were working together on The Lion King, under Hans Zimmer,” Ash explains. “We tracked the drums for it here in the windmill. It was the first time I’d had an engineer of that calibre in the space, and honestly, I was a bit nervous. This is Steve Lipson we’re talking about, his ears are legendary.”
Ash had a mental checklist of things he wanted to ask and test. “I said to him, ‘What do you think of the sound?’ And he just said, ‘Sounds good to me.’ That was it. Coming from him, that meant everything.”
It’s a moment that perfectly sums up Ash’s approach: intuitive, feel-driven, and free of unnecessary complication. “The room isn’t designed to perfection,” he says. “But when someone like Lipson gives you the nod, you know it works.”
Early Days and Breakthroughs
Ash’s journey started in Shropshire, where he was educated at Grove School and took early lessons with Brian Stone. He studied music formally at Salford University and later at Drumtech in London, learning from masters such as Dave Hassell.
His first real break was a brief stint with Tom Robinson. In 1994, he joined Del Amitri, touring and recording with them until 1997. From there, it was a rapid evolution, joining Faithless, then Squeeze, staying with them until their 1999 break-up. His touring credits include Will Young, Lisa Stansfield, and Rick Wakeman. His recording sessions span James Morrison, Ronan Keating, Natasha Bedingfield, Enrique Iglesias, Mark Owen, Alesha Dixon, The Wanted, and many more.
Session Philosophy
Despite his career reaching from Abbey Road to Los Angeles, Ash brings a humble, performance-first ethos to his craft. “I’m using fewer mics these days,” he says. “I’ve got 15 if I need them, but sometimes I’m back to four or five. It’s about the groove.”
As we talk, we reflect on a shared philosophy, something I encountered years ago during an interview with engineer Lenise Bent, who told me about recording Bernard Purdie on Aja. She used just a kick mic and a pair of overheads. That was it. “The groove did the work,” she said. “We panned the overheads, Purdie put on the headphones, and moved the mics himself until it sounded right.” It was elegant, musical, and stripped of ego.
Ash nods in agreement. “You don’t need 20 mics to tell the truth,” he says. “You need a good room, a player who listens, and a vibe.” That mindset resonates through everything he does: serve the song, serve the singer, and let the feel lead.
The Producers and Trevor Horn
Ash is a core member of The Trevor Horn Band, also known as Producers, alongside Trevor Horn, Steve Lipson, Lol Creme, and Chris Braide. “I got a call from Chris out of the blue,” he says. “Next thing I know, I’m playing ‘Slave to the Rhythm’ in a rehearsal room.” That moment turned out to be Ash’s audition for the band, a track he’d played along to as a teenager in his bedroom.
Working with Horn has been a turning point. “Trevor once said in a session, ‘The vocal is the top of the pyramid. Everything else supports that.’ I realised, that’s how I play. That’s probably why he keeps calling me back.”
Ash has since played on Horn’s projects for Seal, Rod Stewart, and the Downes Braide Association with Geoff Downes.
Remote Work and the Modern Landscape
Ash’s windmill has become a remote recording hub for the stars. Dua Lipa, Tori Amos, Seal, and even Jeff Lorber have all sent projects his way. “Jeff Lorber was one of the first to give me a shot here,” he says. “He heard my grooves and said, ‘Don’t overplay. Just hold the pocket.’ That’s what I’ve always done.”
He credits a string of seemingly unrelated events for these opportunities, such as touring with Rick Wakeman after meeting his keyboard tech, who introduced Ash to Fraser T Smith. “That guy, Doom, basically got me the biggest session of my life,” he laughs.
Groove Meets Humility
Despite the accolades, Ash remains down to earth. He tells stories of narrowly missing a Robert Plant session while filming The Voice, of bumping into Pino Palladino on the street, and of learning from late-night chats with Steve Ferrone and Jeff Lorber. “You never know which session will lead to the next. That’s why I say yes.”
One memorable encounter with Robert Plant confirmed a long-rumoured legend, that it was Terry Reid, whom Ash has played with, who turned down Led Zeppelin and recommended Robert instead. “Plant said, ‘That guy should have had my life.’ I’ll never forget that.”
Looking Ahead
Ash is still pushing forward. As of 2021, he rejoined Del Amitri to record their album Fatal Mistakes. He continues to lend his touch to records across pop, jazz, and soul, and remains one of the most in-demand drummers in the UK.
He is currently recording and touring with Snow Patrol, and, just to cap things off, he has just played Glastonbury.
Next up? He’s heading back into the studio with the brilliant producer Jimmy Napes to cut drums for a truly exceptional artist, though we can’t say who just yet. Watch this space.
Not bad for a guy who prefers four mics, a good room, and a pocket you can’t argue with.
