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10 Brilliant Drummers Who Rarely Top the Usual Greatest Lists

Eric Alper
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10 Brilliant Drummers Who Rarely Top the Usual Greatest Lists

If you want to start a friendly argument at a party full of music nerds, ask them to name the greatest drummer of all time. You will get the usual answers within seconds. Bonham. Peart. Moon. End of discussion. Except it is never the end of the discussion.

Buried beneath those consensus picks is a much bigger and far more interesting conversation about drummers who do not always make the headline lists but quietly (or loudly) shape the sound, feel, and personality of the music we love. Think groove merchants, pocket scientists, human metronomes with attitude, and the occasional chaos agent.

Inspired by a spirited Reddit debate, here are ten drummers who deserve a little more love.

Animal (Dr. Teeth and the Electric Mayhem)

Yes, he is fictional. Yes, he belongs on this list. Animal is pure id unleashed behind a drum kit, a walking reminder that rhythm is as much about emotion as technique. He plays like the drums personally offended him, and somehow it always works.

Will Calhoun (Living Colour)

Will Calhoun blends funk, jazz, metal, and social urgency into a style that refuses to sit still. His playing powers Living Colour without ever overpowering them, which is a harder trick than it sounds when the riffs are that heavy.

Max Weinberg (E Street Band)

Max Weinberg is proof that discipline can be thrilling. His drumming with Bruce Springsteen is all about propulsion and precision, the kind that makes three-hour shows feel like a sprint. No flash, no filler, just relentless forward motion.

Bill Ward (Black Sabbath)

Often overshadowed by the riffs and the doom, Bill Ward brought swing, jazz instincts, and surprising delicacy to heavy metal. Without him, early Black Sabbath would sound very different, and much less human.

Glenn Kotche (Wilco)

Glenn Kotche approaches the drum kit like a sound laboratory. Brushes, textures, odd accents, and unexpected silence all play a role. He does not just keep time, he shapes atmosphere.

Claude Coleman Jr. (Ween)

Claude Coleman Jr. can play anything Ween throws at him, which is saying something when genre whiplash is part of the job description. Funk, rock, psychedelia, absurdity. He locks it all down with a grin.

Clem Burke (Blondie)

Clem Burke plays pop music like it is an Olympic sport. His work on tracks like “Dreaming” is fast, fearless, and ridiculously tight. Blondie would not sound like Blondie without his kinetic energy.

Stephen Morris (Joy Division / New Order)

Stephen Morris is the master of mechanical emotion. His precise, almost clinical approach helped define post-punk and electronic rock. The beats may sound simple, but try playing them correctly and you will quickly learn otherwise.

Mitch Mitchell (The Jimi Hendrix Experience)

Mitch Mitchell had the unenviable task of playing next to Jimi Hendrix and still sounding essential. His jazz-inflected, explosive style gave Hendrix the freedom to fly, and that is no small achievement.

Karen Carpenter (The Carpenters)

Long before viral clips reminded everyone she could play, Karen Carpenter was laying down tasteful, musical, and deeply supportive drum parts. Her touch was subtle, her time impeccable, and her musical instincts rock solid.

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Pat Metheny Returns With “Don’t Look Down,” Launching a New Chapter of Side-Eye

Eric Alper
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Pat Metheny Returns With “Don’t Look Down,” Launching a New Chapter of Side-Eye

Pat Metheny has never treated longevity as a victory lap. Instead, he keeps re-entering the conversation from a different angle, and his newly released single”‘Don’t Look Down’”does exactly that. The track is the first preview of Side-Eye III+, his first major studio album in six years, arriving February 27 via his new imprint Uniquity Music in partnership with Primary Wave. It’s a lean, forward-moving piece of music—restless, alert, and quietly confident—built less around nostalgia than momentum.

The Side-Eye project has always been about motion and renewal, and Side-Eye III+ continues that idea by centering Metheny alongside a new generation of collaborators. This iteration features Chris Fishman on keyboards and Joe Dyson on drums, a trio that’s already proven its chemistry on the road. Rather than framing himself as a legacy act, Metheny positions Side-Eye as a living workshop—one that evolves in real time through touring, writing, and collaboration.

That evolution will be on full display in 2026, when Metheny takes Side-Eye III+ on an extensive worldwide tour. For Colorado listeners, the April 7 stop at Boulder Theater lands squarely in the middle of an ambitious North American run before the project heads overseas for a long European stretch. As ever, the new material will sit beside a catalog that’s helped define modern jazz—reshaped, reframed, and kept in motion by an artist who’s never been interested in standing still.

PAT METHENY: SIDE-EYE III+ WORLDWIDE TOUR DATES:

3/2–3 – Jackson, MS – Duling Hall
3/5 – San Antonio, TX – The Charline McCombs Empire Theatre
3/6 – Austin, TX – The Paramount Theatre
3/7 – Houston, TX – Lillie and Roy Cullen Theater at Wortham Theater Center
3/8 – New Orleans, LA – Orpheum Theatre
3/10 – Orlando, FL – The Plaza Live
3/12-13 – Fort Lauderdale, FL – The Parker Playhouse
3/14 – Stuart, FL – The Lyric Theatre
3/15 – Naples, FL – Artis—Naples
3/16 – Clearwater, FL – The Capitol Theatre
3/17 – Jacksonville, FL – Florida Theatre
3/19 – Charlottesville, VA – The Paramount Theater
3/20 – Richmond, VA – The National
3/22 – Nashville, TN – Ryman Auditorium
3/23 – Atlanta, GA – Atlanta Symphony Hall
3/24 – Charlotte, NC – Blumenthal Performing Arts Knight Theater
3/25 – Lexington, KY – Lexington Opera House
3/26 – Knoxville, TN – Big Ears Festival @ Tennessee Theatre
3/27 – Savannah, GA – Savannah Music Festival @ Lucas Theatre
3/29 – Memphis, TN – Minglewood Hall
3/30 – Little Rock, AR – Robinson Center
3/31 – Tulsa, OK – Tulsa Performing Arts Center
4/1 – Dallas, TX – The Majestic Theatre
4/3 – St. Louis, MO – The Sheldon Concert Hall
4/4 – Kansas City, MO – Kauffman Center for the Performing Arts
4/7 – Boulder, CO – Boulder Theater
4/8 – Omaha, NE – Kiewit Concert Hall
4/9 – Madison, WI – Wisconsin Union Theater
4/10 – Indianapolis, IN – Clowes Memorial Hall of Butler University
4/11 – Cincinnati, OH – Taft Theatre
4/12 – Milwaukee, WI – Pabst Theater
4/14 – Royal Oak, MI – Royal Oak Music Theatre
4/15 – Newark, OH – Midland Theatre
4/16 – Columbia, MO – Missouri Theatre
4/17 – Chicago, IL – Symphony Center
4/18–19 – Minneapolis, MN – Dakota
4/21 – Ketchum, ID – Argyros Performing Arts Center
4/23–26 – Seattle, WA – Dimitriou’s Jazz Alley
4/27 – Vancouver, BC, Canada – The Centre in Vancouver For Performing Arts
4/28 – Portland, OR – Newmark Theater
4/29 – Eugene, OR – The John G. Shedd Institute For The Arts
5/1 – San Francisco, CA – The Masonic
5/2 – Sacramento, CA – Crest Theatre
5/3 – Santa Cruz, CA – Rio Theatre
5/4 – Los Angeles, CA – Walt Disney Concert Hall
5/5 – Santa Barbara, CA – Lobero Theatre
5/7 – Irvine, CA – Irvine Barclay Theatre
5/8 – San Diego, CA – Humphrey’s Concerts By The Bay
5/9 – Chandler, AZ – Chandler Center for the Arts
6/6 – Flensburg, Germany – Deutsches Haus
6/7 – Lübeck, Germany – Musik-und Kongresshalle Lübeck
6/8 – Hamburg, Germany – Laeiszhalle
6/9 – Wroclaw, Poland – National Music Forum
6/12 – Katowice, Poland – National Polish Radio Symphony Orchestra
6/13 – Warsaw, Poland – Palladium
6/15 – Berlin, Germany – Admiralspalast
6/17 – Munich, Germany – Isarphilharmonie
6/18 – Dortmund, Germany – Konzerhaus Dortmund
6/19 – Freiburg, Germany – Konzerthaus Freidburg
6/20 – Nuremberg, Germany – Serenadenhof
6/21 – Frankfurt, Germany – Jahrhunderthalle Kuppelsaal
6/24 – Zürich, Switzerland – Volkshaus
6/29 – Wien, Austria – Wiener Konzerthaus
7/2 – Udine, Italy – Castello di Udine
7/5 – Rome, Italy – Cavea Auditorium Ennio Morricone
7/6 – Pompei, Italy – Anfiteatro degli scavi
7/7 – Giulianova, Italy – Arena del Porto Turstico
7/9 – Milano, Italy – Teatro degli Arcimboldi
7/18–19 – London, UK – Barbican
7/25 – Donostia, Spain – Kursaal

The Hondo Rodeo Fest Returns to Phoenix in November 2026, Expands to New Orleans

Eric Alper
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The Hondo Rodeo Fest Returns to Phoenix in November 2026, Expands to New Orleans

Arizona’s biggest rodeo announced on its YouTube channel today that The Hondo Rodeo Fest will be circling back to Chase Field in Phoenix, AZ, home of the Arizona Diamondbacks, this November 13-15th, 2026. Now in its third year, The Hondo Rodeo Fest combines an electrifying million-dollar rodeo competition, full nightly concert series, and Street Fest. 

Last November, a record-breaking 100,000 attendees experienced “The World Series” of rodeo featuring the best rodeo athletes in the world competing for a million-dollar purse. In addition to the best athletes and livestock, the Hondo Rodeo Fest attracts the biggest music artists. While fans will have to wait for the official 2026 Phoenix line-up, last year’s event included headliners Nickleback, Kid Rock, and Jason Aldean, in addition to Treaty Oak Revival, Jon Pardi and Riley Green.

2026 will be the biggest year yet for The Hondo Rodeo Fest. CEO James Trawick announced last November the event’s expansion into New Orleans on April 10-12th, 2026 at the iconic Caesars Superdome. The incredible list of headliners includes Jason Aldean, Cody Johnson, and Creed, in addition to performances by Lynyrd Skynyrd, Old Dominion and Bailey Zimmerman. 

All Hondo Rodeo Fest tickets provide attendees an incredible value for the price and include access to both the rodeo competition and concert, in addition to the free Street Fest. Limited floor passes are also available to add to one’s ticket purchase for front-of-stage floor access to the concert, following the conclusion of the rodeo. 

For more information on tickets in New Orleans and to sign up to receive more information when the Phoenix artist line-up will be announced, visit https://thehondorodeofest.com/

What the 2026 JUNO Nominees Tell Us About the Music Industry and Fan Bases

Eric Alper
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What the 2026 JUNO Nominees Tell Us About the Music Industry and Fan Bases

This year’s JUNO nominations that are going to turn into awards on March 29 in Hamilton, ON offer a clear snapshot of how Canadian music actually lives in the world right now. At the top of the list are artists who dominate very different corners of the industry but share one defining trait: deeply committed fan bases. Justin Bieber and Tate McRae leading all nominees with six nominations each matters because it cuts across multiple areas of recognition. These are not just nods for popularity. Their names appear in categories tied to albums, songs, and overall artistic impact. That tells us their music is being consumed deeply, not casually. Fans are listening to full projects, returning to songs over time, and staying engaged across releases. That kind of support shows up clearly when nominations stack across different categories.

Close behind, artists like The Weeknd and Cameron Whitcombe each earned five nominations, showing two very different career paths being recognized in similar ways. The Weeknd’s nominations reflect long-term international success and consistency across albums and singles. Whitcombe’s nominations point to strong momentum driven by fan connection, live performance, and growing visibility. The JUNOs are acknowledging both sustained global presence and fast-rising domestic support within the same awards cycle.

Daniel Caesar’s four nominations highlight another layer of recognition. His work is being acknowledged not only through nominations but also through his selection as a live performer and recipient of the International Achievement Award. That combination signals respect for both artistic output and global influence. It shows how Canadian artists can build careers that resonate internationally while remaining rooted in homegrown support.

Multiple nominations for The Beaches and Jessie Reyez speak to consistency and cultural presence. These artists are being recognized across categories tied to songwriting, albums, and performance. Their nominations reflect audiences who stay invested across releases and see their music as part of their everyday lives, not just something that passes through a playlist once.

The addition of Latin Music Recording of the Year is also significant. This category exists because the audience already does. Nominees like Alex Cuba, Lido Pimienta, Andy Rubal, Isabella Lovestory, and Mario Puglia represent music that has long been part of Canada’s cultural fabric. The category formalizes recognition that fans have already given through listening, sharing, and showing up.

Beyond competitive categories, the JUNOs also mark career recognition. Nelly Furtado’s induction into the Canadian Music Hall of Fame and Joni Mitchell’s Lifetime Achievement Award remind us that fan bases endure. These honors sit alongside newer nominations to show how Canadian music history and present momentum are connected, not separated.

Justin Bieber’s presence at the top of the nominations also places him in rare company. He is now a three-time artist nominated for Album of the Year at both the Grammy Awards and the JUNO Awards with related projects. Only a small group of artists have ever crossed that line, including k.d. lang, Alanis Morissette, Celine Dion, Shania Twain, Arcade Fire, The Weeknd, and Drake. Bieber is the only artist to achieve this distinction more than once with closely connected albums, underlining how his work travels seamlessly between Canadian and global audiences.

Hosting duties by Mae Martin add another layer, signaling how the JUNOs continue to reflect broader cultural voices beyond music alone. It reinforces the idea that the awards are not just about sound, but about storytelling, identity, and connection.

This context matters because it shows how fan bases operate at scale. Albums that resonate deeply at home can also connect internationally when the emotional core is strong enough. The overlap between Grammy and JUNO recognition reflects sustained listening, not short-term attention.

Beyond the top names, this year’s nominations also point to a broader industry shift. Touring, streaming, sync placements, social presence, and cultural impact are all part of the equation now. Artists are not being rewarded for a single breakout moment but for consistency and growth. Careers are built piece by piece, audience by audience.

Finally, the balance between legacy and momentum feels especially strong this year. Honouring artists like Nelly Furtado and Joni Mitchell alongside newer voices creates a full picture of Canadian music as a living continuum. Fan bases do not disappear. They evolve, cross generations, and stay loyal to artists who continue to give them something meaningful. The 2026 JUNO nominations show an industry shaped by connection first, exactly where music has always been strongest.

Do LaB Returns To Coachella With Tinashe, Andy C, Seth Troxler And More

Eric Alper
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Do LaB Returns To Coachella With Tinashe, Andy C, Seth Troxler And More

Do LaB returns to Coachella this year with a lineup featuring a DJ set from Tinashe, Andy C, Anfisa Letyago, OMNOM, and Whethan on weekend one, and Seth Troxler, The Brothers Macklovitch made up of A-Trak and Dave1, SBTRKT, and After Midnight made up of Matilda and San Pacho on weekend two. The stage promises a host of surprise guests throughout both weekends, following last year’s sets from Mau P, Zeds Dead, Sara Landry’s Blood Oath, Crankdat, Bob Moses and more. Previous years included surprises from Billie Eilish, DJ Snake, DJ Pee.Wee, and Kaskade.

Do LaB gives fans a taste of what they can expect from the brand’s flagship festival, Lightning in a Bottle, which takes place over Memorial Day Weekend on May 20th to 24th at Buena Vista Lake in Southern California. Coachella takes place April 10th to 12th and April 17th to 19th, with this year’s headliners including Sabrina Carpenter, Justin Bieber, and Karol G, as well as a special set from Anyma.

Fred Again.. Drops Massive New Hamdi Remix And Announces ‘USB002 REMIXES’ Album Arrival

Eric Alper
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Fred Again.. Drops Massive New Hamdi Remix And Announces ‘USB002 REMIXES’ Album Arrival

Fred again.. releases the ‘OK OK (Hamdi Remix)’ today featuring Danny Brown, BEAM, PARISI, and JPEGMAFIA. This heavy hitting track serves as the debut preview for the newly announced ‘USB002 REMIXES’ album. The full collection features seven remixed tracks from the evolving USB series and arrives on March 6 in 2026. Remixer Hamdi previously joined the USB tour in San Francisco and returned for the current New York residency.

The announcement comes as Fred again.. continues a three week takeover of East End Studios in New York. Last weekend featured performances alongside X3butterfly, Doctor Jeep, and Sister Zo before welcoming Caribou and BRUX to the stage. The residency concludes this weekend with appearances from KETTAMA and Ben UFO on the final lineups. These shows highlight the raw energy of the USB002 era through immersive sound and visual production. The producer moves to London for a run at Alexandra Palace starting February 12.

The artist recently held a unique exhibition titled ‘Boris Acket – Secret Life Exhibition’ at the Queens venue. This installation centers on the Einder Surface kinetic piece by Dutch visual artist Boris Acket. The work features shifting layers of fabric that create a breathing roof effect over the audience. Visitors experience this immersive environment set to a reworked version of ‘Secret Life’, the ambient collaboration between Fred again.. and Brian Eno. The exhibition stands as an integral part of the holistic USB002 project.

The USB series began in 2022 and has since grown to include global hits like “Rumble” and “leavemealone”. Recent additions to the infinite album include “you’re a star” with Amyl and the Sniffers and “Talk of the Town” with Sammy Virji.

Pop Icon Melanie C Delivers Shimmering Swedish Synths On New Single “What Could Possibly Go Wrong?”

Eric Alper
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Pop Icon Melanie C Delivers Shimmering Swedish Synths On New Single “What Could Possibly Go Wrong?”

Melanie C returns with her second single “What Could Possibly Go Wrong?” ahead of the release of her ninth studio album ‘Sweat’. The track features a rush of shimmering synths and builds on a joyful club ready energy designed for movement. Recorded in Stockholm with collaborators Klas Åhlund and Nea, the song provides a distinctive Swedish sound. This latest offering follows the release of the title track “Sweat” via Virgin Music Group as the artist explores a self assured and playful era.

The singer describes the new single as a tongue in cheek look at taking risks and trusting oneself to take a leap. She shares that the creative team had a lot of fun discussing the light and shade of music and life during the recording process. This record serves as a fusion of her established pop legacy and her recent evolution as a professional DJ. The songs reflect the raw energy of her early years dancing through the rave scene.

The upcoming album ‘Sweat’ stands as a celebratory collection of joy and community recorded between London and Los Angeles. Melanie C notes that she has done a lot of soul searching and now wants to get people dancing again. This project captures the spirit of a generation that found itself on the dance floor among friendly strangers. The music provides a vibrant testament to the resilience and happiness found within dance culture.

Melanie C previously rejoined the Spice Girls for a landmark reunion tour in 2019 which included three sold out nights at Wembley Stadium. Her connection to electronic music deepened in 2018 through performances at institutions like Pacha and Café Mambo. She finds joy in the ability to mix and rebuild sounds just like in life. The new material unites her history as a pop icon and an underground DJ into her most euphoric record to date.

Country Legend Moe Bandy Celebrates The Forty Fifth Anniversary Of The Hit “Hey Joe, Hey Moe”

Eric Alper
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Country Legend Moe Bandy Celebrates The Forty Fifth Anniversary Of The Hit “Hey Joe, Hey Moe”

Country music veteran Moe Bandy marks the forty fifth anniversary of his Top 10 duet “Hey Joe, Hey Moe” alongside partner Joe Stampley. Originally arriving in 1981, the track served as the lead single from their collaborative album ‘Hey Joe (Hey Moe)’. Songwriter Boudleaux Bryant reimagined the lyrics specifically for this project to create a standout moment in country music history. This anniversary honors a recording that remains a significant fan favorite decades after its initial release on Columbia Records.

Bandy describes the recording process as a period of great fun with his longtime friend. He notes that while he has recorded many albums in his career, fans still request this specific single at every performance. Bandy expresses gratitude for his enduring friendship with Stampley as the two continue to share the stage for select live appearances. This partnership defines a golden era of honky tonk sounds that continues to resonate with audiences across the country.

The ‘Hey Joe (Hey Moe)’ album includes tracks such as “Honky Tonk Queen” and “The Girl Don’t Ever Get Lonely”. Other songs on the record are “I’d Rather Be A-Pickin'”, “Drinkin’, Dancin'”, “Drunk Front”, and “Country Boys”. The collection concludes with “Let’s Hear It For The Workin’ Man”, “Get Off My Case”, and “Two Beers Away”. These songs showcase the traditional style that earned Bandy various CMA and ACM awards throughout his storied career.

Tour Dates:

AN 25 – FEB 01 – The Country Music Cruise / Fort Lauderdale, Fla.
FEB 21 – Old Town Theatre / Huntsville, Texas
FEB 28- Heard County PAC / Franklin, Ga.
MAR 14 – Jackson Street James / Burnet, Texas (with Joe Stampley)
MAR 26 – Wharton County Youth Fair / Wharton, Texas (With Joe Stampley)
APR 18 – Amish Country Theater / Millersburg, Ohio
APR 24 / Cactus Theater / Lubbock, Texas
APR 25 – Texas Pride / Adkins, Texas
APR 30 – Grand Ole Opry / Nashville, Tenn.
MAY 02 – Lincoln Jamboree / Hodgenville, Ky.
MAY 09 – Private Event / Chatsworth, Ga.
MAY 15 – Granbury Live / Granbury, Texas
MAY 16 – 11th Street Cowboy Bar / Bandera, Texas (With Joe Stampley)
JUN 12 – Buckles & Spurs Festival / Dayton, Texas

HEADLINE: Belfast Heavy Rockers Foreignwolf Reveal Huge Riffs On New EP ‘Merely Mortal’

Eric Alper
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HEADLINE: Belfast Heavy Rockers Foreignwolf Reveal Huge Riffs On New EP ‘Merely Mortal’

Belfast heavy rock four piece Foreignwolf announce the arrival of their new EP ‘Merely Mortal’ on April 3, 2026. The band consists of vocalist and guitarist Gerard McCann, lead guitarist Dave Brady, bassist Conor Forbes, and drummer Max Couhig. This upcoming release follows the debut of their new single and video “Imposter Syndrome” which is available now. The group continues to build momentum within the rock and metal scene through honest lyrics and powerful vocal delivery.

The new record serves as a breath-taking step forward for the heavy metal outfit. These tracks utilize massive riffs and strong hooks that maintain a sharp emotional core throughout the listening experience. Foreignwolf draws on a specific blend of melody and substance to create a sound that feels deeply personal. Their music earns support from major outlets including BBC Radio One and Sirius XM as they expand their reach across the UK.

The band describes the collection as an exploration of the parts of being human that people often avoid discussing. This EP looks at self-doubt, fear, emotional dependency, and the connections people struggle to let go of. The members share a desire to capture the feeling of trying to grow while still feeling fragile and imperfect. Their close-knit dynamic informs the raw energy found in the new recordings and upcoming live performances.

Foreignwolf prepares for a massive period of activity involving new music and videos. ‘Merely Mortal’ arrives as a significant milestone for the group since their formation in 2019. The band members focus on delivering a heavy sound influenced by the likes of Deftones and Alter Bridge. This release signals a new chapter for the Belfast musicians as they bring their signature energy to a wider audience.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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