Behind The Curtain: Tyler Burgess

Erin McCallum
4 days ago
5 min read

Every edition of Behind The Curtain begins with a brief explanation; this article strives to bring readers something enterprising about the highlighted artist - something that provides deeper insight, but has yet to be put ‘on the record’. The artists featured here are ones who possess a strong, well-documented professional record that’s easily accessible – and it is strongly encouraged for readers to seek more information via other means and independent investigation. The biographical content in this column is provided strictly to justify, and put into context, the investigation for this particular feature; it is impossible to provide a complete bio within the confines of a column. The method for each edition almost always follows the same process: after years of research, curiosities that have yet to be quelled about the artist in question are investigated by going straight to the source. What readers find here is the information and insight resulting from that research, investigative approach, and direct conversation with the featured artist.

It isn’t commonplace to encounter a professional musician who has embraced two significantly contrasting roles on stage more effectively than Tyler Burgess. Known equally as a drummer and a singer (and harmonicist) who serves as the “frontman” on stage, Burgess has had definitive and longevous professional success in multiple areas of practise. Whether referencing his professional experience on drums (and backing vocals) with Stompin’ Tom Connors, or his post as the lead singer/frontperson for Downchild, the evidence is there. Burgess has worked in countless projects that serve as fair examples that his versatility is omnipresent, however, the aforementioned example puts this investigation into context. Burgess’ experiences and insights will certainly provide readers with a glimpse ‘behind the curtain’ – about his professional record, and in a broader way. This particular investigation seeks to examine the contrast between two very different – and equally important – positions on stage, and Tyler Burgess’ lifelong career as a professional musician provides a credible foundation for answers.

It should be noted that Burgess started playing professionally as a teenager, first stepping into his career as a drummer. He has maintained that role throughout his career, and remains a sought-after drummer in numerous projects. When asked what he wants readers to know about him when they listen, or see him perform, he says:

“This [playing music professionally] is something that I’ve been doing since I was fifteen years old, and I’ve continued to be motivated and inspired to keep learning. It’s been forty years, and it’s still “fresh” – it’s a lifelong process of learning.”

As previously mentioned, the list of projects he has worked with is extensive, and readers are encouraged to discover more about Burgess’ professional record in all areas he contributes musically via independent investigation. With the context of this particular investigation already established, Burgess was asked what he thinks are the main challenges between being a “front person” and an accompanying player on stage:

“As a drummer, accurately reading what the singer wants to happen next, in terms of dynamics, tempo and feel – and giving the song the right feeling – is always a challenge. There’s also a physical element to drumming that requires someone to maintain a level of fitness, which allows for someone to play without fatigue or pain, and that’s also an important part of giving the song what it needs. As a singer, maintaining your instrument – your voice – is a different challenge; it’s the only one you’ve got. It’s not like changing a drum head, or sending an instrument out for repairs. It can also be physically tiring to be out front – you have to be “on” at all times. Maintaining your voice, your energy, and your mental focus from the first song to the last song in the set is also a different challenge. There’s also a different balance between your craft – the instrument you play – and being entertaining while you’re up front, so that’s sometimes a challenge as well.”

Learning Burgess’ thoughts on the challenges that each position presents offers readers evidence that the two roles - often found on the same stage – are substantially different. With this information established, it makes sense to find out directly from Burgess what he thinks the definitive differences are:

“Being a drummer – a side man – you’re in a supporting role, focusing more on ensemble playing. You’re focused more on the music, the band as a whole, and that interaction in a supportive way. You’re interacting with the other musicians and soloist on stage. As a singer, it’s quite different. Your focus is more outward, and toward the audience. Of course, you’re paying attention and listening to the music, but, in a way, it’s more self centred. There’s a different responsibility because you’re trying to engage the audience, and bring them into the experience.”

While summarizing his thoughts, Burgess rips back the curtain and shines a very bright spotlight on an aspect of making music that is almost always heard, but rarely examined.

“As a drummer, you’re trying to push the band forward; as a singer, you’re trying to pull the audience in.”

In one sentence – and a full career of performing from the front and the back of the stage – Tyler Burgess quells the curiosity of this investigation, and provides readers with the exclusive insight that resides beyond the press release and bio.

As this edition of “Behind the Curtain” draws to a close, I trust that readers of all varieties have gained something more about the artist of mention, and it inspires further investigation. Every artist featured in this column has a biographical foundation that cannot be covered here, so it is always encouraged to find out about the music and career that substantiates these conversations. In Tyler Burgess’ case, what’s been added exclusively to the record here can be substantiated by listening for that “push” and “pull” in his musical contributions, both live and in his recorded works. This article is a regular monthly contribution, published exclusively in the Sound Café magazine with the intention of providing a deeper insight into the Canadian Blues artists who are at the core of the Blues music Collective.

Photo Credit: Rowen.

Touring blues musician, Erin McCallum's formal post-secondary education was in media studies (news, radio), graduating from Humber College in Ontario, she went on to be mentored by Canadian News Hall of Fame inductee, Robert Holiday, and she is a regularly published writer in music and investigative journalism, having focused on music for the last six years. Erin has an exclusive monthly column in The Sound Cafe featuring musicians and industry professionals from across Canada who work predominantly in the Blues & Roots genres.

Erin McCallum. Big Voice. Big Sound.

www.erinmccallum.com

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