Berlin Drum Days 2026
When I booked my place at Berlin Drum Days 2026, I expected four days of exceptional drumming, inspiring performances and the opportunity to learn from some of the finest educators and musicians in the business.
What I didn’t expect was just how immersive, inclusive and genuinely uplifting the experience would be. 
Held at Berlin’s iconic ORWOhaus and billed as “a celebration of the art of drumming”, Berlin Drum Days delivered far more than a series of masterclasses. Across four packed days, attendees were encouraged to step out from behind their notebooks and onto the stage, learning directly from world-class performers through participation, collaboration and shared musical experiences.
From shuffle grooves and Brazilian rhythms to jazz concepts, session drumming, funk, hip-hop and Afro-Cuban influences, every session offered something unique. More importantly, every educator brought a genuine willingness to share their knowledge, answer questions and create an environment where drummers of all ages and abilities felt welcome.
What follows is my personal account of four unforgettable days spent learning, playing, laughing, taking far too many notes and occasionally being persuaded onto the stage myself.
Here’s how it all unfolded.
Day 1
With introductions out of the way, it was time to get stuck into the first day of Berlin Drum Days 2026.
Today’s educators were our host, Dirk Erschinger, and the phenomenal Jost Nickel.
Dirk opened proceedings with a warm welcome before diving straight into a fantastic class on the importance of the shuffle groove. Within minutes, the event’s hands-on approach was clear as attendees were invited onstage to play alongside a bass player and put the ideas into practice.
I was summoned to play a Texas-style double shuffle—nerve-racking, but hugely rewarding. Thankfully, I managed to hold my own and received some great feedback from Dirk on the strength of my groove.
It was the perfect way to break the ice and set the tone for the days ahead.
The second part of the day, and one of my main reasons for attending the event, was the opportunity to learn from the incredible Jost Nickel.
Beginning with nothing more than a snare drum, Jost demonstrated how simple ideas can be developed into compelling musical phrases. What followed was a masterclass in creativity as he expanded those concepts around the full kit, exploring stickings, coordination ideas and combinations that seemed to offer endless possibilities.
I nearly ran out of paper taking notes.
One of the things that makes Jost such a compelling educator is his ability to make advanced concepts feel accessible. Throughout the session, attendees were invited onstage to demonstrate and apply the material, helping bring the ideas to life in a practical and engaging way.
After a short break, Jost returned for a performance segment, playing along to backing tracks and showcasing the concepts in a real musical context.
The playing was jaw-dropping.
Effortless technique, impeccable feel and complete musical control—everything you’d expect from one of Europe’s most respected drummers.
What impressed me most, however, was the balance he struck between demonstrating his extraordinary abilities and making the material relatable and useful for everyone in the room.
It was a thoroughly enjoyable session and a reminder that great musicians and great educators don’t always come as a package deal. Jost happens to be both.
By the end of the day, my notebook was considerably fuller, my brain was working overtime processing new ideas, and I was already looking forward to seeing what Day 2 had in store.
A brilliant start to the event and plenty of inspiration to take into tomorrow.
Day 2
Another exceptional day of drumming and education got underway at 10am, this time with a Brazilian flavour courtesy of Renato Lellis.
Renato broke down some of my favourite Brazilian grooves and shared valuable insights into the feel and flavour that make the style so distinctive. Rather than focusing solely on the notes themselves, he highlighted the subtle nuances that bring these rhythms to life.
I even had the pleasure of jumping up to jam a samba groove with him. Safe to say we were all suitably warmed up by the end of the session.
Next up was an excellent class from German jazz maestro Steffan.
Steffan began by introducing a series of sticking combinations he regularly uses in his playing. After guiding the whole room through the exercises, he invited attendees onstage to apply the ideas on the drums in a musical setting.
I was asked to demonstrate a six-stroke triplet fill and received some helpful feedback in the process.
The second half of the session took a decidedly groovier turn as Steffan was joined by his son on bass guitar. With the focus shifting towards interaction and performance, attendees were encouraged to put the concepts into practice alongside live accompaniment.
I found myself summoned once again, this time exploring some inverted Steve Gadd-style ideas and receiving more useful feedback and encouragement along the way.
Steffan’s session was one of the day’s pleasant surprises. While he wasn’t a drummer I was familiar with before the event, I came away with plenty of ideas and a newfound appreciation for his playing and teaching.
The afternoon belonged to Martina Barakowska, originally from Macedonia and now based in Berlin—and she absolutely commanded the room.
Martina opened with a performance featuring music she had either composed drum parts for or co-written herself. What immediately stood out was the sheer range of styles she has worked across, all delivered with confidence, taste and impressive musicality.
Focusing on the realities of session drumming, Martina discussed her approach to serving a song, stressing the importance of deep listening, experimentation and being willing to make mistakes in pursuit of creativity.
One particularly interesting discussion centred around her career development after graduating during the Covid era. She spoke openly about how social media became not simply a tool, but a necessity for building opportunities and visibility as a working musician.
Her advice was refreshingly honest, practical and grounded in real-world experience.
One topic I wasn’t expecting—but was delighted to see covered—was sound capture and microphone placement, an area I’m particularly interested in at the moment.
Feeling increasingly at home on the ORWOhaus stage, I happily volunteered to play a groove while Martina demonstrated her approach to miking a drum kit.
Martina’s kit (and those Meinl cymbals 😍) sounded fantastic, and thankfully I settled into a good groove, earning some generous applause and kind words from both Martina and the other attendees.
Moments like that are exactly what make events like this so memorable.
Day 2 delivered an incredible variety of styles, concepts and perspectives—and there was still more to come.
The evening session was a specially arranged gig at ORWOhaus featuring Dirk and his band, Sons of the Preachermen, followed by an open jam session with event attendees.
Unsurprisingly, Dirk’s band were exceptional. Their unconventional three-piece lineup of drums, 8-string guitar, and saxophone (switching to bass sax for solos) delivered a set packed with groove, originality, and an undeniable musical connection. They funked their way through their own compositions with style, energy, and great feel. Dirk was clearly loving every minute of it, and despite the gig taking us well into the twelfth hour of an already long day, it was absolutely worth staying for.
The student performances alongside Dirk’s band were equally enjoyable. There were some fantastic players on display, and it was particularly refreshing to see less experienced musicians step up and take part. My only regret was not putting my own name down to join in. That said, it was a pleasure to watch, listen, and spend time with my Berlin drum friends—a fitting end to an unforgettable day.
Day 3
As with the previous days, proceedings got underway promptly at 10am, and today’s opening masterclass was delivered by none other than Richard Spaven.
A long-time favourite drummer of mine, and someone I’ve previously been fortunate enough to study with, this was one of the sessions I had been looking forward to most.
Richard started by introducing a deceptively simple phrasing concept before demonstrating just how many creative directions it could be taken. Judging by the reaction in the room, minds were already being blown—and it wasn’t even 10:30am.
No Richard Spaven session would be complete without exploring the hip-hop and drum & bass concepts for which he has become so renowned, and thankfully he didn’t disappoint.
The playing was every bit as innovative and jaw-dropping as expected, delivered with his trademark combination of creativity, groove and humour.
An inspiring start to the day from one of modern drumming’s most distinctive voices. 
After a quick changeover of kits, we were treated to a remarkable session from Uruguayan drummer Diego Piñera.
Performing on an expanded setup featuring multiple cowbells, blocks and timbales, Diego opened with a blistering solo that showcased astonishing independence, creativity and musicality. At times, you could easily close your eyes and imagine an entire ensemble performing rather than a single musician.
After breaking down aspects of his approach, Diego introduced an Afro-Hawaiian clave groove and had the entire room clapping and playing the various parts together.
Despite being a drummer I’d never encountered before the event, I came away hugely impressed by both his musicianship and teaching style. Diego’s combination of creativity, technique and musicality left a lasting impression.
The afternoon brought one of the sessions I had been most excited about since booking the event: Derrick McKenzie, long-time drummer with disco-funk legends Jamiroquai.
Thirty-two years with one band tells its own story.
This performance-focused session saw Derrick playing through tracks he had recorded and co-written while openly discussing his recording process, remixing techniques and how he translates studio work into a live environment.
Derrick’s tasteful playing, unwavering groove and willingness to share his knowledge made for a truly memorable session.
We left with valuable insights, practical advice and a lengthy list of music to revisit and explore.
Fittingly, Derrick closed his session with Jamiroquai’s iconic hit Cosmic Girl.
Cosmic stuff indeed. 
On a day that simply refused to slow down, there was still one more session to come.
Our final class belonged to host, organiser and educator Dirk Erschinger.
Dedicated entirely to the grooves of Kool & The Gang, this session felt tailor-made for someone with my musical tastes.
Armed with groove transcriptions, a fantastic bass player and three drum kits, Dirk guided us through some of the funkiest material of the entire weekend.
The emphasis throughout was participation, learning and enjoyment. Regardless of ability level, everyone was encouraged to get involved, and Dirk somehow managed to offer feedback and encouragement without ever allowing the groove or energy in the room to drop.
By this stage of the event, it was impossible not to appreciate just how much Dirk’s enthusiasm and leadership had shaped the entire experience. His ability to educate, entertain and bring people together has been at the heart of everything that has made Berlin Drum Days so special.
Another unforgettable day in what was rapidly becoming an unforgettable week.
Day 4
Our final day of this spectacular educational extravaganza had arrived.
As always, proceedings began promptly at 10am German time, with host Dirk Erschinger taking the stage.
Although billed as a warm-up session, Dirk wisely chose to use the opportunity to speak directly from the heart.
What followed was less a drum lesson and more a reminder of why we all picked up sticks in the first place.
Warm, honest and deeply human, his words encouraged us to reflect on our individual journeys as musicians and the shared passion that had brought us all together in Berlin.
A warm-up session it certainly was—but one that served a deeper purpose than any sticking pattern ever could.
The penultimate masterclass belonged to Brazilian educator Renato Lellis.
Before touching the drums, Renato encouraged us to think back to where our musical journey first began—not the flight to Berlin or the train ride to ORWOhaus, but the moment we first connected with the instrument itself.
Sharing footage of himself as a bright-eyed seven-year-old appearing on Brazil’s version of Teletubbies, Renato delivered a message that clearly resonated throughout the room.
He then launched into a selection of Brazilian tracks he loves to play. Interestingly, the original recordings featured no drums at all, meaning what we heard was entirely Renato’s interpretation.
The result was phenomenal.
His playing combined passion, authenticity and musicality with a real sense of joy. As always, he answered questions generously and continued sharing his extensive knowledge of Brazilian rhythms and clave concepts.
To close the session, Renato invited members of his band from Brazil onto the stage and gave attendees the opportunity to join in on Ain’t No Sunshine.
A fittingly uplifting conclusion to another memorable session.
The final masterclass of Berlin Drum Days 2026 belonged to Jay Kaylo.
Yet another drummer I discovered during the event and one whose playing left a lasting impression.
Originally from Havana, Cuba, Jay is known as the “Flow Maestro”, and it took all of about sixty seconds to understand why. His opening solo was packed with groove, creativity, technique and musicality.
Jay’s masterclass struck a perfect balance between creative concepts, technical breakdowns and breathtaking demonstrations of the ideas in action.
There were plenty of questions from attendees and Jay took the time to answer every one thoughtfully. Given that his native language is Spanish, the entire session was expertly translated into English by Drum Trainer team member Julian—a remarkable effort considering German is his first language.
Jay closed the event in true Berlin Drum Days fashion by bringing attendees onto the accompanying drum kits.
What followed was a continuous three-drummer jam, with Jay conducting from the centre while drummers rotated through grooves and traded fills.
Regardless of age, experience or ability level, it was fantastic to see so many attendees getting involved.
Dirk Erschinger – A Living Legend
Looking back, Berlin Drum Days was far more than a collection of masterclasses. It was a gathering of musicians brought together by a shared passion for drumming, learning, and community.
At the heart of it all was the one and only Dirk Erschinger. Throughout the event, Dirk gave everything of himself, bringing boundless energy, enthusiasm, and care to every moment. His passion and dedication are what made this event such a special and memorable experience for everyone involved.
Host, organiser, educator, performer, life coach, and, most importantly, a friend to every attendee, Dirk embodied the spirit of Berlin Drum Days. Alongside his incredible team, he created an environment where everyone felt welcomed, encouraged, and inspired to grow.
The world-class education was reason enough to attend, but it was the people, the participation, and the genuine sense of togetherness that made the event truly unforgettable.
I left Berlin with pages of notes, countless new ideas to explore, a handful of cherished memories from sharing the stage with some remarkable musicians, and a deep appreciation for everyone who played a part in making the event what it was.
Thank you, Dirk, and thank you to everyone who made Berlin Drum Days such a unique and inspiring experience.
Until next time, Berlin.
dD 🥁