Dan Dinsmore, An Xperience Interview

Dan Dinsmore, An Xperience Interview – by OP Callaghan.

Dan Dinsmore has all the chops and power in the world on drums. He also honors the groove first and foremost. He is one of the best on the planet!”
– Chris Wyse, bassist of Owl, the Cult, and Hollywood Vampires
Dan Dinsmore is a monster. This guy hits hard, hits clean, and works the kit like a prizefighter. His drumming with Owl and the Clay People is reminiscent of the one-and-only John Bonham. Songs like “The Pusher,” “Lake Ego,” and “Children Of The Grave” (from Owl) are incredibly tight, clean, and super heavy. Dan’s work with the Clay People, particularly “Victoria Queen” and “The Drugs (Are Not Working),” is exceptional. He’s got a big swing and loads of talent. But Dan is more than a drummer. His work at his own Overit Media has been a springboard for artists from the Capital Region and beyond. Dan is a creative force, a nurturer of talent, a creator of dreams, and a promoter of all things artistic. Eric Braymer of the Clay People and Jupiter Queen sums it up nicely: “I have to say that Dan is one of the best there is. He gets you with that snare drum and pulls you in with his persistent, heavy playing. His timing is perfect, and he plays with great feeling and passion. One of my favorite things about playing with Dan is his ability to provide constant feedback, which keeps you on your toes and inspires you to play better.”
We’re lucky to have him on these pages, so please welcome Dan Dinsmore!

RRX: How did you get started playing drums?

DD: I was 12 when my father passed away. It was a heavy, confusing time. I had been really into baseball and roller skating, but after seeing the Cars live in Glens Falls, NY, something clicked. I needed an outlet—something that was mine. Music became that lifeline. I started banging on anything I could find—trash cans, chairs, couch cushions—and built makeshift drum kits, before finally convincing my mom to get me a cheap set. From that moment, I was all in. I played for hours every day, nonstop. Eventually, I formed my first band and started playing block parties. That raw hunger hasn’t gone away.

RRX: Do you play any other instruments?

DD: I mess around with guitar and bass, but what I really love is producing. Creating and shaping a sound from the ground up is magic to me.

RRX: Do you come from a musical family?

DD: Funny enough, we recently traced our family history and discovered a long lineage of drummers dating back to the 1700s. Music definitely runs in the blood—lots of professional musicians in the family tree.

RRX: Have you taken lessons or are you self-taught?

DD: I did take lessons early on from a guy who ran The Drummers Workshop in Rotterdam. Mike Gerardi. It was a vibrant hub for drummers to learn, connect, and immerse themselves in their craft.

He was more than a teacher—he was a mentor and a kind of therapist during a tough time in my life. Those lessons shaped me more than he probably ever knew.
The only other real teacher I ever spent a lot of time with was my brother-in-law Lou Verutto. Lou was a father figure and an unbelievable drummer. He inspired me and turned me on to so many diverse styles. He had a major impact on my life and drumming.

RRX: Who were some of your first influences?

DD: John Bonham, Buddy Rich, Tommy Lee, James Gadson and Ed Greene. I was deep into early Jackson 5, Stevie Wonder, Fleetwood Mac, ELO, Boz Scaggs—basically a lot of Motown and classic rock. Soon after that, turned to more hard rock / metal: influenced by Neil Peart Stephen Perkins, Matt Chamberlain, and so on. That blend helped me build a style rooted in groove and feel.

RRX: I definitely hear Bonham in your playing. Who influences you now?

DD: So many—Danny Carey, Steve Jordan, Simon Phillips, Steve Gadd (always),Carter Beauford, and of course, still Bonham. A special shoutout to Josh Eppard. I wasn’t a huge Coheed & Cambria fan at first, but after working with him at Overit Studios, I became one. His feel, his emotion—he plays with his whole being. That guy is incredible. There’s a sea of great players out there, but it’s the ones who make you feel something that really stick with you.

RRX: Josh is a great player. Tell me about your first kit.

DD: A silver Reuther 5-piece that was total junk—but man, I’d do anything to have that kit back. It was where it all began.

RRX: I bet! What are you playing now?

DD: My studio go-to is a ‘67 Ludwig 4-piece with a Black Beauty snare—just an unreal sound. For touring, I rotate between a Pearl Masters kit, DWs, and a Pork Pie set. They each have their own vibe and energy.

RRX: Beautiful. Tell me about your first band and first gig.

DD: My first band was DBK—Dinsmore, Bedford, Kitzman—back in early high school. We thought we were Yes or something. Our first gig was a block party in the neighborhood. I was 13 or 14. One cool memory—Bryan Thomas, now known as Buggy Jive, joined us on keys. He played “Foreplay/Long Time” by Boston, and it blew our minds. We had him loop it over and over. He was insanely talented back then and still is—kind of a Prince-meets-Joni-Mitchell vibe. If you’re into deep songwriting and funk-rock genius, check him out.

RRX: I love Bryan (Buggy). Tell me about some of the other bands/artists you’ve played with.

DD: East Wall was the first real band—touring, making records, seeing some success. After that, I started 3lb Universe, a powerhouse of talent from upstate NY. Then came the Clay People. We signed with a label out of Chicago, then Universal Mercury. We toured hard, dropped albums, and still keep it going today.
Another big part of my life is Owl, the band I play in with my lifelong friend Chris Wyse. We’ve been playing together since we were 14, and that bond has only grown. We’re always recording, always creating. I’ve also recorded with acts like Ironweed, Dead Rabbits, Idols Never Die, and dozens of others in the studio. I just love being in the room when the magic happens.

RRX: Owl is great. I love your playing with that band, and I had to sneak in to see East Wall as an underage punk! Do you have a favorite gig?

DD: I can’t pick one. The Clay People and Owl have given me so many great moments—and we’re still writing new chapters.

RRX: Any gig horror stories?

DD: One crazy tour I was on with the Clay People, we had a gig in Detroit. We pulled up to the club, and it was not in the best part of town. We started loading our gear out, and when we came out for our second trip, our trailers and van were just gone. Everything we had was stolen, and we had to hitch a ride with another band on the tour to get to the next gig. All our gear, clothing, and everything was just gone. We made it through the tour, but that was insane. I also remember, with my first real touring band East Wall, we were like 15 or 16 years old playing clubs and bars. Somehow, the police got word of an underage bunch of kids playing in bars, and they arrested us right on stage. Right there and then, I knew I had chosen the right path.

RRX: That wasn’t me! Tell me about Overit.

DD: Overit started in 1993 as a creative side hustle—something to support myself between tours. I loved design, storytelling, and tech, so I built a company around that passion. Today, Overit is a 50-person creative agency based in Albany, NY. We help brands tell their stories in unique, bold ways that actually connect with people. We are also building innovation with technologies, and we will always strive to bring creative and innovative solutions to help brands, artists, and companies achieve their goals.
We also built Overit Studios—an amazing recording space inside a converted church. I wanted a world-class room for drums and live recording, something versatile and sonically killer. That dream became a reality. Now we get to work with top artists and clients from all over. It’s been a wild ride, and I’m so proud of what we’ve built.

RRX: And what an amazing place to have here in the Capital District. Thank you for everything that you do, and thanks for being with us today. Anything else you’d like to add?

DD: Never stop chasing the sound in your head. Music is healing. It’s purpose. Whether you’re playing for a crowd of thousands or just jamming in your basement—do it with heart.

RRX: Thanks, Dan. We’re lucky to have you!

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