That Eric Alper

Rock history is full of unforgettable moments, but nothing quite lands like a perfectly timed drum fill. Whether it’s a subtle skip across the toms or a thunderous crash into a chorus, these fills don’t just move the music forward—they make the song. Here are 30 legendary drum fills that hit like thunder, listed alphabetically by song title and paired with the powerhouse behind the kit.

“Africa” — Jeff Porcaro (Toto)
Porcaro’s fill at 1:07 is subtle but unforgettable, weaving perfectly into his famous half-time shuffle. It’s a smooth glide across the toms that makes everything feel warm, tight, and timeless.

“Aja” — Steve Gadd (Steely Dan)
Gadd delivers surgical precision on this jazz-rock masterpiece. His solo section is a feast of phrasing, ghost notes, and fluid triplets, blending jazz technique with pop sensibility.

“Black Hole Sun” — Matt Cameron (Soundgarden)
The fill going into the final chorus evolves with each repetition, building drama without losing control. It’s dynamic, fluid, and effortlessly cool—like the song itself.

“Brother to Brother” — Mark Craney (Gino Vannelli)
Part solo, part conversation with the bass, Craney trades blistering two-bar fills like it’s a sport. A jazz-fusion highlight that’s equal parts power and precision.

“Everlong” — Taylor Hawkins (Foo Fighters)
This fill is like a controlled explosion—tight, fast, and full of urgency. Hawkins anchors the chaos with a snare-driven moment that feels like sprinting through a storm.

“Fool in the Rain” — John Bonham (Led Zeppelin)
Bonham’s shuffle grooves hard, but the fill that breaks it wide open is pure release. It’s like a deep breath that explodes into Technicolor thunder.

“Good Times Bad Times” — John Bonham (Led Zeppelin)
Right out of the gate, Bonham shows off his famous footwork. His rapid-fire bass triplets set the tone for an album—and a career—full of jaw-dropping moments.

“Green Earrings” — Bernard Purdie (Steely Dan)
Purdie’s fills are slick, sneaky, and packed with personality. This one is a showcase of his signature offbeat swagger and subtle flash.

“Hold On Tight” — Bev Bevan (ELO)
Not just flashy—expensive. With one of the priciest music videos of the era, the fills keep pace, bold and bombastic as the synth-soaked rock rushes forward.

“In the Air Tonight” — Phil Collins (Solo)
That fill. The one you always air drum. Four toms, a mountain of reverb, and a delayed explosion that made Collins a legend. Goosebumps every time.

“Little Wing” — Mitch Mitchell (Jimi Hendrix Experience)
Mitchell dances across the kit with a jazz-infused delicacy. His fill under Hendrix’s dreamy chords adds magic without overpowering the melody.

“Lonely Ol’ Night” — Kenny Aronoff (John Mellencamp)
Aronoff hits hard and with purpose, and his fill into the chorus is a classic bar-band call to arms. No-nonsense power drumming at its finest.

“No One Knows” — Dave Grohl (Queens of the Stone Age)
Grohl pummels the kit with monstrous triplet fills that lock in like clockwork. It’s heavy, hypnotic, and oddly danceable—the holy trinity of desert rock.

“Pride (In the Name of Love)” — Larry Mullen Jr. (U2)
Mullen’s playing is all about restraint and feel. The tom fill here is subtle but uplifting, propelling the song’s passion without stealing its spotlight.

“Proto-Cosmos” — Tony Williams (Lifetime)
This one’s for the drummers. Williams delivers three solos in one track, but that final burst is pure fire—unleashed energy packed into blazing rolls and delicate phrasing.

“Rain Is Falling” — Bev Bevan (ELO)
Bevan’s fills echo like raindrops on chrome. Moody, melodic, and just enough drama to carry the song’s wistful tone without overstepping.

“Reelin’ In the Years” — Jim Hodder (Steely Dan)
Tight, tasteful fills that perfectly bridge verse and chorus. Hodder’s timing and tone make it easy to overlook the complexity under all that smooth guitar.

“Rosanna” — Jeff Porcaro (Toto)
Studio drumming perfection. The ghost notes, the shuffle, the fills—they all merge seamlessly. Porcaro made it sound effortless, but it’s anything but.

“Sad But True” — Lars Ulrich (Metallica)
Say what you will, but this fill is heavy and deliberate, dropping like anvils between riffs. It’s not flashy—it’s final.

“Separate Ways (Worlds Apart)” — Steve Smith (Journey)
Smith’s fill into the final chorus is a stadium-sized stomp. It’s clean, melodic, and perfectly timed to make you raise your fists without even realizing it.

“She Said She Said” — Ringo Starr (The Beatles)
Classic Ringo: quirky, lyrical, and locked in. His fills feel conversational, like the drums are part of the story instead of just backing it.

“Smells Like Teen Spirit” — Dave Grohl (Nirvana)
Instant recognition. That intro fill is raw and brash—just like the song. Grohl’s snare crack is a call to arms for a new generation of disenchanted teens.

“Sober” — Danny Carey (Tool)
Carey’s playing is complex but never cluttered. The fill on “Sober” is moody and mechanical, like gears grinding into something dark and beautiful.

“Stairway to Heaven” — John Bonham (Led Zeppelin)
One fill, four seconds, endless debate. Bonham’s moment here is subtle but powerful, and somehow sounds different every time you hear it.

“Stargazer” — Cozy Powell (Rainbow)
The drum intro here is thunder on a mountain. Powell sets the tone with ferocity, and the fill explodes like a battle cry from Valhalla.

“Stratus” — Billy Cobham (Solo)
Cobham’s fill is a blur of single strokes down concert toms—controlled chaos. It’s a moment that leaves jaws on the floor and sticks in splinters.

“Sunshine of Your Love” — Ginger Baker (Cream)
More of a groove than a fill, but no less legendary. Baker’s tribal thump walks the line between jazz and psychedelia, setting the tone for Cream’s swirling madness.

“Tom Sawyer” — Neil Peart (Rush)
What is there to say? A technical masterclass that also makes you want to drive 90 in a school zone. This fill is the sound of pure adrenaline in 7/8.

“Twilight” — Bev Bevan (ELO)
Synths swirl, guitars shimmer, and Bevan’s drums fill in the gaps like thunder under starlight. Each fill lands like punctuation in a space opera.

“Wipeout” — Ron Wilson (The Surfaris)
This one’s pure joy. Wilson’s rapid-fire rolls introduced generations to the full drum kit—and gave gym teachers everywhere a go-to warmup song.

“Won’t Get Fooled Again” — Keith Moon (The Who)
Moon didn’t play solos—he erupted. The fill before the final scream is a glorious mess of flams and crashes that somehow lands in perfect time. Moon magic.

So whether you’re a drummer, an air-drummer, or just a fan of musical fireworks, these fills prove that a few well-placed hits can shake the soul. And if your steering wheel doesn’t know at least ten of these by heart, it’s time to give it a proper education.