Lars Nielsen

Lars Peter Nielsen has one of the best recruitment stories in Danish metal. Born June 22, 1994, in Odense to a decidedly non-musical middle-class family, his path to drumming was entirely self-made. His parents, both office workers, saw music as a nice hobby but nothing serious.

At 13, Lars discovered drumming not through lessons or school programs, but by watching YouTube videos and trying to replicate what he saw using pots, pans, and whatever furniture could withstand his enthusiasm. His approach was completely unconventional – no rudiments, no formal technique, just pure instinct and endless hours in the family basement.

His neighbors weren’t thrilled about the noise, but his parents, recognizing his passion even if they didn’t understand it, bought him a basic drum kit for his 16th birthday. From that moment, Lars developed his own unique style, free from the constraints of formal training. He played along to everything from classic rock to death metal, developing an instinctive feel for rhythm that formal education might have drummed out of him.

By his early twenties, Lars was a fixture in Copenhagen’s bar scene, sitting in with any band that would have him. Musicians sought him out for his uncanny ability to adapt to any style on the fly, making even mediocre bands sound tight through his solid, creative drumming. His reputation spread through word of mouth – the guy who could play anything, anywhere, with anyone.

His recruitment to Grief and The Maiden in February 2024 has become the stuff of legend. Anna, Erik, and Kasper were drowning their frustrations at a Nørrebro bar after weeks of failed drummer auditions. Lars was there too, playing with a pickup group of musicians who’d literally just met. After watching him effortlessly navigate songs he’d never heard before, Erik approached him during a break.

What started as casual conversation escalated when Lars, several beers deep, boasted he could play anything they threw at him. Kasper, equally intoxicated, challenged him to play one of their most complex pieces. Not only did Lars nail the intricate patterns after hearing it once, but halfway through, he grabbed his beer with his left hand and finished the entire piece one-handed while drinking, never missing a beat.

Erik’s response was immediate: “If you can do that drunk and one-handed, imagine what you can do sober with both hands.” Lars just grinned and said, “Buy me another beer and I’ll show you.”

Despite having zero experience with symphonic metal, Lars adapted to Grief and The Maiden’s complex arrangements remarkably well. His lack of formal training became an asset – he approached the orchestral elements without preconceptions, finding innovative ways to support both the heavy sections and delicate passages.

His work on “Ashes of Vanity” (May 2024) proved his instincts were spot-on, providing thunderous power when needed and subtle nuance during orchestral moments. “From Ashes to Starlight” (October 28, 2024) showcased his growth, featuring intricate arrangements that highlight his natural creativity.

Lars plays a custom DW Collector’s Series kit with Zildjian cymbals, though he’s known for making any kit sound exceptional. His self-taught background means he sometimes breaks conventional rules, but these unconventional choices often lead to surprisingly effective solutions.

Living a laid-back life in Copenhagen, Lars can still be found in the city’s music venues, supporting local bands and sitting in whenever possible. Despite Grief and The Maiden’s success, he remains unpretentious and approachable. His bandmates joke about having to “collect” him from various venues for rehearsals. His philosophy is simple: music should be fun above all else. His infectious enthusiasm has become essential to the band’s dynamic, both on stage and in the studio.