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Drumeo Is Giving Away Its £20 Groove Book Free Ahead of The UK Drum Show

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Drumeo Is Giving Away Its £20 Groove Book Free Ahead of The UK Drum Show

Drumeo — title sponsor of The UK Drum Show 2026 — is giving every drummer a free copy of its best-selling e-book, 100 Grooves Every Drummer Needs To Know, in the run-up to this October’s show at Exhibition Centre Liverpool.

The book normally sells for around £20 and has sold thousands of copies over the past two years. From today until the show, it’s free to download.

The giveaway comes from Drumeo’s Brandon Toews, best known for putting the world’s most famous drummers through their paces on the Drumeo YouTube channel — and who will be performing live at The UK Drum Show on Sunday, October 25, alongside Simon Phillips, Xavier Ware, Zack Grooves, J-Rod Sullivan, Matt Garstka, Femi Koleoso and more.

“You might have seen me torturing famous drummers on YouTube,” says Toews. “Well, in a few weeks it’s my turn in the hot seat. So, yeah… I’m a little stressed.”

While preparing for his set, Toews kept up his day job at Drumeo: studying the greats. And he noticed something.

“Many of the greatest drummers of all time are from the UK. It’s crazy consistent.”

To make the point, he pulled ten of the most instantly recognisable grooves in recorded music — every one of them played by a British drummer:

  • Charlie Watts — Honky Tonk Women
  • John Bonham — When The Levee Breaks
  • Ringo Starr — Come Together
  • Ian Paice — Smoke On The Water
  • Phil Collins — In The Air Tonight
  • Nick Mason — Money
  • Mitch Mitchell — Manic Depression
  • Bill Ward — War Pigs
  • John Bonham — Fool In The Rain
  • Gavin Harrison — The Sound of Muzak

Besides the UK connection, those ten parts have one other thing in common: they’re all in 100 Grooves Every Drummer Needs To Know.

The book breaks down 100 of the most important grooves in drumming history — the parts that defined rock, funk, soul, pop and progressive music — in full notation, so drummers can sit down and play them rather than just read about them.

“We’ve sold thousands of copies over the last two years, but I wanted to do something special leading up to The UK Drum Show. So I’m giving it to you for free.”

DOWNLOAD THE FREE E-BOOK HERE → (normally ~£20)

The download is a PDF, so it can be saved to a computer or iPad and worked through at the kit — ideally, Toews suggests, alongside a morning cuppa.

“I hope it helps you get excited to celebrate all things drums with us next month. Enjoy the book, and I’ll see you at the show.”

The UK Drum Show 2026 takes place on 24th & 25th October at Exhibition Centre Liverpool. Drumeo is this year’s title sponsor, and says it has more planned for the show, with further announcements to come.

Download 100 Grooves Every Drummer Needs To Know free →

FAREWELL TO PEPE SÁNCHEZ

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FAREWELL TO PEPE SÁNCHEZ

Drummer for Barry White, Barbra Streisand, Diana Ross, Andy Gibb (Bee Gees).

José Sánchez Lianes, known as Pepe Sánchez, passed away at the age of 81 at his home in Las Rozas, surrounded by his family and closest friends. He was one of the most significant figures in Spanish music: a percussionist, pianist, composer and educator.

Pepe Sánchez was a major reference for drummers and percussionists around the world. Throughout his career, he performed alongside some of the finest American, European and Latin American drummers.

He received the Record World Award in 1974, 1975, 1976 and 1977. In 1980, Modern Drummers magazine named him one of the four best drummers in the world at the time. He also achieved Guinness World Record recognition with the Allen Star Drummers festival in 2000, 2002 and 2009.

Leading international percussion brands Ludwig and Zildjian presented him as one of their featured percussion artists, and he performed in Frankfurt, Los Angeles and numerous other cities throughout Spain, Europe and the United States.

As a drummer, he performed under some of the most prestigious conductors in symphonic and popular music, including Henry Mancini, Michel Legrand, Elmer Bernstein, Lalo Schifrin and Paul Mauriat, among others.

In the recording industry and in live performance, he collaborated with major Spanish and international artists including Julio Iglesias, Joan Manuel Serrat, Nino Bravo, Rocío Jurado, Camilo Sesto, Dúo Dinámico, Raphael and Miguel Ríos, among many others. During his time in the United States, he recorded with Barry White, Barbra Streisand, Diana Ross, Andy Gibb (Bee Gees) and other major international artists.

Pepe Sánchez was also the resident drummer at legendary Madrid jazz clubs such as Whisky Jazz. His students would go there to see him put into practice what he taught at his academy, where many of Spain’s finest drummers were trained.

As a composer, arranger and record producer, he wrote and recorded numerous works. His albums have been released and reissued in Spain, the United Kingdom, the United States and other countries, including Regresión, Signo de Cáncer, Callejón del Agua, Mis Raíces, Classic All Star, The All Star Blues Band and Libertad, among others.

Pepe Sánchez served as musical director of major television music programmes, including Gente Joven on TVE for 16 years, as well as programmes on Telecinco. He also conducted prestigious orchestras including the London Symphony Orchestra, the RTVE Orchestra, the Manuel de Falla Orchestra, the Bética de Sevilla Orchestra and the Ciudad de Málaga Orchestra.

Today we say goodbye to a giant of music who was also a good man: generous, supportive and deeply committed to the defence and advancement of music.

As an outstanding educator, he worked tirelessly to promote the inclusion of pop, rock and popular music instruments within conservatory education and to ensure that they received the recognition they deserved.

He was also a committed advocate for the intellectual rights of performing artists and took part in campaigns and initiatives aimed at promoting Spanish music throughout the world.

At the time of his death, Pepe Sánchez was Secretary General of AIE and a founding and active member of the Board of Directors of the Spanish Academy of Music, positions he held with dignity and distinction.

His passing leaves us with profound sadness, but also with gratitude for a musical and human legacy that will endure over time.

Today is a sad day, but that sadness is tempered by the certainty that his extraordinary legacy will serve future generations, allowing them to learn from and carry forward everything this remarkable man created for the enjoyment of us all.

His work, dedication, study and passion for music will never die.

SIMON PHILLIPS on 50+ Years of Drumming | The UK Drum Show

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SIMON PHILLIPS on 50+ Years of Drumming | The UK Drum Show

Ahead of his headline performance at The UK Drum Show 2026, Simon Phillips joined us to discuss a career spanning Toto, countless recording sessions, Protocol, drum clinics and some truly remarkable moments in drumming history.

So, what keeps him motivated after more than five decades behind the kit?

“I get bored,” Phillips admits. “I get bored playing the same music. I always have.”

That appetite for variety began early. After joining Jesus Christ Superstar in 1973, Phillips soon found himself increasingly busy with recording sessions, eventually making the daunting decision to leave the security of a regular wage. By 1976, he was completing more recording sessions than there were days in the year.

That experience shaped his entire approach to drumming.

“You start because you play the song maybe once or twice, then you’re immediately listening to it,” he explains. “How can I change it to make it sound a bit better?”

That instinct to create rather than simply reproduce has remained central to Phillips’ playing — and it was particularly evident in one of the performances that left a lasting impression on this writer: “Don’t Step In It”, filmed for Pete York’s Super Drumming in 1987.

Phillips recalls the spontaneous nature of the project, including an unplanned duet with legendary drummer Louie Bellson. For Phillips, the magic lies in playing around a musical motif rather than simply launching into a display of technique.

“I always try to make it a composition,” he says.

That philosophy will be on full display when Phillips headlines the UK Drum Show on Sunday 25 October. Rather than approaching a room full of drummers as an intimidating audience, Phillips now sees it simply as a performance.

“They’re there, they want to be entertained.”

And don’t expect 45 minutes of relentless speed. Phillips is passionate about the importance of musicality, drawing inspiration from players such as Gene Krupa, Max Roach, Bernard Purdie and Ian Paice.

“It’s not all about how fast you can be,” he says. “You’ve got to use technique tastefully.”

For aspiring drummers, his advice is simple: keep your mind open. Listen to different styles, develop your vocabulary and, crucially, find your own sound.

“We need to have that voice.”

With Protocol 6 material potentially making an appearance during his European clinics and a completely blank musical canvas awaiting him at the UK Drum Show, one thing is certain: Simon Phillips still has plenty to say from behind the kit.

Grab your tickets to The UK Drum Show HERE

Drumming For WILL SMITH | Greg Clark Jr. | The UK Drum Show

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Drumming For WILL SMITH | Greg Clark Jr. | The UK Drum Show

When Greg Clark Jr. takes to the main stage at The UK Drum Show on Saturday 24 October, he won’t simply be opening the event, he’ll be setting the tone for an entire weekend of drumming…

Arriving on stage at 9:45am at LEX Liverpool, Clark Jr. is understandably excited about the opportunity, although he admits there is one slight problem: Europeans have a habit of being very punctual.

“I’m still half asleep,” he laughs. “But it’s fun. You can expect some good vibes, some fun drumming, some silliness and some really cool information that you probably can utilise in your own musical journey.”

It’s an approach that reflects a career built on far more than simply technical ability. From beginning his musical journey in church at the age of four to performing alongside artists including Will Smith, Jennifer Lopez, Stanley Clarke and Snarky Puppy, Clark Jr. credits much of his progression to the lessons learned through those early experiences.

Church taught him how to listen, accompany other musicians, understand dynamics, navigate different personalities and, crucially, build relationships.

For Clark Jr., relationships remain at the heart of the music business.

His opportunities with J-Lo and Will Smith are perfect examples. A long-standing relationship with musical director Kim Burse eventually led to a call to work with Lopez, while his connection with drummer and musical director, Keith Harris, forged partly through playing basketball together, resulted in an invitation to join Will Smith’s band.

There were no auditions. Harris knew his playing, his work ethic and his reputation. “Essentially, you’re only as good as your last gig,” Clark Jr. explains. “If people remember you as, ‘He showed up on time, did his job, he was consistent, he killed it, people liked being around him,’ there’s a very strong chance you’re going to get recommended again.”

That philosophy extends beyond the professional world. Greg Clark Jr. believes the drumming community has a unique sense of kinship, something he experienced growing up in Washington D.C., surrounded by generations of exceptional drummers.

And his advice to the next generation is simple: build those connections. “Just the same way you practice a groove, or you practice chops, you have to sharpen the muscle of relationships and connections,” he says.

So, when Greg Clark Jr. opens The UK Drum Show on 24th October, expect more than an early-morning wake-up call. Expect great playing, plenty of personality, useful insight — and, above all, a celebration of the community that makes drumming so special.

We’ll see you at the front of the main stage!

Remember to follow us on YouTube, Facebook, Instagram and X.

Ben Sharp: From Teaching Drums, YUNGBLUD and The UK Drum Show

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Ben Sharp: From Teaching Drums, YUNGBLUD and The UK Drum Show

For Ben Sharp, becoming the drummer for YUNGBLUD wasn’t the result of a carefully planned career move or a high-profile audition. It actually began with a chance meeting more than a decade ago.

Sharp first met Dominic Harrison when the future YUNGBLUD frontman was just 15. Fourteen years later, after years of teaching drums, playing functions and working his way through the music industry, Sharp finally received the call that would change everything.

“I did have, like, a little preemptive with Dom before anything happened,” he explains. “The first thing I hit with him (Dom) was the Live Lounge, which had obviously been a bucket list for everyone.”

At the time, Sharp was still working as a peripatetic drum teacher in schools around Leeds. The sudden run of YUNGBLUD-related work arrived during the chaos of COVID, with appearances including the MTV EMA Awards being filmed in warehouses rather than performed live.

But stepping onto the stage with YUNGBLUD required more than simply playing the songs. Sharp quickly discovered that Dom wanted something bigger.

“He just turned around and was just like, ‘I need more from you.’”

The result has been a live drumming style built around energy and controlled chaos. With YUNGBLUD shows renowned for their unpredictability, Sharp says every performance requires the band to trust each other, particularly when they don’t know exactly what Dom might do next.

That philosophy is reflected in his kit, too. His current setup features a 22″ bass drum, 13″ rack tom, and 16″ and 18″ floor toms, alongside a bell brass main snare and phosphorus bronze auxiliary snare.

“It’s a big rock gig, so we wanted the big rock sound,” he says.

Now Sharp is preparing for another first: his debut appearance at The UK Drum Show, where he’ll take part in Mike Dolbear’s masterclass room on Sunday 25 October.

His session promises to be a diverse one, featuring YUNGBLUD material, comparisons between recorded and live interpretations and some more technical material he has written with a collaborator.

Despite playing arenas in front of 10,000 or 20,000 people, Sharp admits that performing in front of hundreds of drummers could actually be more nerve-wracking.

“…I think I’m going to be pretty scared,” Ben said whilst talking about his upcoming performance.

For Sharp, The UK Drum Show is also a long-standing ambition finally being realised. And his advice to the next generation of drummers is refreshingly simple: keep working, stay positive and don’t impose a deadline on yourself.

“I just don’t ever think there is no time limit. So don’t put a time constraint on yourself. Just keep working and working. And one day if the call comes, be ready.”

After years of grinding away behind the kit, Ben Sharp knows exactly what it means when that call finally arrives.

Millenium unveils the MPS-1500 E-Drum Kit

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Millenium unveils the MPS-1500 E-Drum Kit

The Millenium MPS-1500 Hybrid-X combines the look and feel of an acoustic drum kit with the boundless versatility of cutting-edge e-drum technology. Featuring real wood shells in full-drum-size, the revolutionary Nexus Multi-Percussion Pad, and a massive sound library – this set raises the bar for the stage, studio, and rehearsal room. Authentic rebound, deep sound customization, and flexible signal routing, the MPS-1500 Hybrid-X delivers the best of both worlds for dual drummers.

Say goodbye to scaled-down shell sizes and toy-like feel: With a full-size 22″x16″ bass drum, a 13″x5.5″ snare, and 10″, 12″, and 14″ toms, the MPS-1500 Hybrid-X offers the familiar playing feel of a real acoustic set. The dual-zone mesh head pads guarantee ultra-precise head and rim triggering, while maintaining an extremely low acoustic noise level.

The Millenium MPS-1500 Hybrid-X combines the look and feel of an acoustic drum kit with the boundless versatility of cutting-edge e-drum technology. Featuring real wood shells in full-drum-size, the revolutionary Nexus Multi-Percussion Pad, and a massive sound library – this set raises the bar for the stage, studio, and rehearsal room. Authentic rebound, deep sound customization, and flexible signal routing, the MPS-1500 Hybrid-X delivers the best of both worlds for dual drummers.

Say goodbye to scaled-down shell sizes and toy-like feel: With a full-size 22″x16″ bass drum, a 13″x5.5″ snare, and 10″, 12″, and 14″ toms, the MPS-1500 Hybrid-X offers the familiar playing feel of a real acoustic set. The dual-zone mesh head pads guarantee ultra-precise head and rim triggering, while maintaining an extremely low acoustic noise level.

Serving as the heart of the setup is the powerful Millenium Nexus Multi-Percussion Pad. It not only impresses with 3,622 sounds and 160 kits (80 presets, 80 user kits), but also features 9 standalone pads on top. Effortlessly navigate through menus, effects, and trigger settings via the crisp 4.3″ color display. Best of all: The Nexus Pad can easily be used as a standalone unit and is compact enough to take anywhere.

Set configuration

22″x16″ Bass Drum Pad
13″x5.5″ Dual-Zone Snare Pad
10″x06″ Dual-Zone Tom Pad
12″x06″ Dual-Zone Tom Pad
14″x14″ Dual-Zone Floor Tom Pad
13″ Dual-Zone 2-piece Hi-Hat Pad with Controller
2x 15″ Dual-Zone Crash Pads with Choke function
18″ Triple-Zone Ride Pad with Choke function

SABIAN and Ray Luzier Launch the 21″ AA MantaRay Chinese

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SABIAN and Ray Luzier Launch the 21″ AA MantaRay Chinese

SABIAN is proud to announce the release of the 21″ AA MantaRay Chinese, a distinctive new signature accent cymbal developed in collaboration with Ray Luzier of Korn.

Created through an extensive year-long collaboration, the MantaRay began with Luzier’s idea for an accent cymbal that could deliver the explosive attack of a China while getting out of the way quickly—cutting through a powerful mix without leaving behind the harsh, lingering wash.

Its unique asymmetric 21″ profile produces a bold, lower-pitched attack with trashy character, powerful projection and an immediate, controlled decay. The result is a musical and articulate accent voice that sits naturally alongside the rest of the kit, whether on stage or in the studio. Its unmistakable MantaRay shape makes the cymbal as visually striking as it is sonically distinctive.

“Its been a pleasure working with Ray for the last 25 years. I’m so proud to have seen him rise from small club gigs in LA to stadiums around the world. We’re so grateful he’s been sporting our china front and center on his kit all these years so when he had a specific need for a particular sound we were happy to take on the challenge of creating something as unique as he is. It embodies both his playing style and his personality, and the result is one of the most striking cymbals we have ever made,” says Chris Stankee, SABIAN’s Global Artist Relations Director.

“Ray has been in the SABIAN family for more than 3 decades, which makes this collaboration especially meaningful to us,” comments Stacey Montgomery-Clark, SABIAN’s Senior Vice President of Sales & Marketing. “His playing continues to impress both seasoned drummers and a new generation of players, and the MantaRay will be a talking point for years to come.”

The 21″ AA MantaRay Chinese is shipping now and available worldwide beginning September 2, 2026.


For additional information visit:https://sabian.com/product/22116rl-21-inch-aa-mantaray-chinese/

 

About SABIAN:

SABIAN is globally renowned as the world’s leading designer and maker of musical cymbals. With endorsers including major drummers Phil Collins, Brian Frasier Moore (Pink), Tomas Haake (Meshuggah), Billy Cobham, Cora Coleman and JoJo Mayer, as well as renowned percussionist Dame Evelyn Glennie and players in orchestras such as the Philadelphia Orchestra, the Los Angeles Symphony, Royal Opera House – Covent Garden and the Vienna Philharmonic Orchestra, this award-winning company offers cymbals and sounds for every musical application, playing level and price point. Known for combining centuries-old traditional craftsmanship with modern innovation, SABIAN ensures quality and value in every cymbal. Headquartered in Meductic, New Brunswick, Canada, it sells cymbals to over 80 countries throughout the world. For further information about SABIAN or its products, please visit the company online at www.sabian.com

The Worlds FASTEST Drummer? | Riccardo Merlini

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The Worlds FASTEST Drummer? | Riccardo Merlini

Riccardo Merlini may be best known as one of the fastest drummers around, but his approach to drumming goes far beyond simply chasing speed.

Speaking to Drummers Review, Riccardo reflected on the moment he first discovered his potential for extreme speed, his time studying with Mike Mangini, the importance of developing your own identity as a drummer and why the global drumming community remains such a special place.

Riccardo started playing drums at just three or four years old, eventually progressing into music schools and conservatoire studies. His fascination with speed really began after seeing Mike Mangini at a drum clinic. “I was amazed about this speed,” Riccardo recalled. “I didn’t know that a human being could really be able to play that fast.”

Inspired by what he had seen, Riccardo spent weeks experimenting with his technique, eventually discovering a motion that allowed him to dramatically increase his speed. Within three weeks, he was reaching around 300 BPM with both hands, although, as he is keen to point out, it certainly wasn’t an overnight gift. “I worked at it a lot,” he explained.

Riccardo later had the opportunity to study with Mangini, who encouraged him to look beyond speed and concentrate on fundamentals such as grip, balance, co-ordination and counting. That experience helped shape Riccardo’s approach to playing and teaching.

One particularly fascinating part of the conversation centred around playing with a click. For Riccardo, a metronome isn’t simply something to follow, it’s about developing an internal sense of pulse.

“The click for me is not the click, it’s the pulse of the music,” he explained.

He believes drummers need to develop an awareness of their own body and how it moves with the music, rather than becoming completely dependent on hearing a click.

Riccardo also spoke passionately about the unique relationship between drummers. Having met countless players at festivals and drum shows around the world, he believes drummers share a sense of community that is difficult to find elsewhere.

“We don’t have that big ego,” he said. “We’re just friends, and we become friends in one second.”

But perhaps the most important message from the interview came when Riccardo was asked what advice he would give to a young drummer. “Try to recognise who you are as soon as possible.”

For Riccardo, finding your own voice is far more valuable than simply attempting to become proficient at everything. He encourages young drummers to discover what naturally comes out of their playing, then go deeper into that identity. Whether that means jazz, metal, groove, speed or something completely different, Riccardo believes the key is to discover what makes you unique. “Study who you are. Get better in yourself.”

While Riccardo may always be remembered as “the fast guy”, that’s something he sees as a positive, because ultimately, he has found his place in the drumming world.

Backstage at Colchester Castle with Hollywood Vampires’ Glen Sobel

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Backstage at Colchester Castle with Hollywood Vampires’ Glen Sobel

On a sunny afternoon at Colchester Castle in Essex, Drummers Review presenter, Ollie Winiberg found himself with a backstage pass to one of rock’s most intriguing touring setups.

Hollywood Vampires (the supergroup featuring Alice Cooper, Johnny Depp and Joe Perry alongside Glen Sobel, Chris Wyse, Tommy Henriksen and Buck Johnson) were in town for another night of their UK run. With the outdoor stage basking in the summer sunshine and The Damned beginning to set up nearby, Glen had just finished soundchecking when Ollie joined him on stage for an in-depth look at his touring kit.

At the centre of the setup is a DW Collector’s Series kit, featuring a pair of 22” x 18” bass drums, a 6.5” x 14” Bell Brass snare and a streamlined tom configuration consisting of a 12” rack tom, 16” and 18” floor toms, plus a 14” tom currently serving as a rather unconventional music stand for the charts Glen still uses on a couple of songs.

The cymbal setup is unmistakably Glen Sobel. Sabian cymbals dominate the kit, including an O-Zone crash, a collection of 19” crashes, a Legacy ride, 15” HHX Power Hats and an XSR Fast Stack. There’s also a 10” splash that, remarkably, has survived the demands of touring without cracking.

But the real conversation starter sits behind Glen: a custom 18” x 4” pancake gong bass drum, complete with the Hollywood Vampires logo.

The unusual drum isn’t simply there to look cool. Glen uses it to trigger samples during the show, including the enormous bass-drum sound heard on Aerosmith’s “Livin’ on the Edge”. As Glen explains in the accompanying kit tour, the effect is so convincing that people sometimes assume the pancake gong itself produces that huge sound… something he happily lets them believe.

The electronic side of the setup continues with a collection of Roland pads used to trigger different sounds throughout the show, while a Porter & Davies throne provides Glen with tactile feedback from the bass drum. For a drummer, hearing the low end isn’t always enough; feeling it is a completely different experience.

Ollie also captured Glen playing Hollywood Vampires’ version of “Heroes” during the soundcheck, providing a glimpse of the kit in action before the night’s performance. With the sun shining over Castle Park and the sound of Glen’s DW kit carrying across the outdoor venue, it was a suitably impressive soundtrack to an afternoon backstage.

Hollywood Vampires might bring some of rock’s most recognisable names to the stage, but the drummer has a huge role in keeping the seven-piece machine moving. As Glen himself points out, the singer might appear to have the hardest job, but it’s the drummer who has to help hold everything together and direct the traffic.

You can catch Glen perform at The UK Drum Show across the weekend of 24th – 25th October at the LEX (formally ACC) Liverpool. Tickets available HERE.

Frank Beard ZZ TOP

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Frank Beard ZZ TOP
Frank Beard, ZZ Top, Bilbao BBK Live 2008 — photo by Alberto Cabello, CC BY 2.0, via Wikimedia Commons

Drummers Review is sad to report the death of ZZ Top drummer Frank Beard, after an extended period of ill health. He was 77.

Although technically not the original drummer in ZZ Top, Beard was with the band from just after the time of their debut single Salt Lick (with drummer Dan Mitchell) in 1969, until this month. Prior to joining ZZ Top, Beard drummed with a pirate lineup copying British band The Zombies, unauthorised by the group.

Frank Beard was born in Frankston, Texas, in June 1949. In his teens, he met bassist Dusty Hill, joining Hill in his band, The Warlocks. After playing with a number of bands, Hill invited Beard to join ZZ Top, and Beard brought in guitarist Billy Gibbons to complete the classic trio.

ZZ Top achieved worldwide success in the late 1970’s which corresponded with Beard’s descent into serious drug addiction. The band took a ninety-day hiatus in 1977 to allow Beard time to enter rehab and get clean. In the end, the break lasted over two years, but the band never considered another drummer for one moment. Beard was the engine room of ZZ Top, and without him, the band would simply not be the same.

Signing with Warner Brothers in 1979, ZZ Top began their hugely successful mainstream period, including 1983’s Eliminator and 1985’s Afterburner, both of which featured clean, punchy production, and radio-friendly single releases, which brought the band to an entirely new pop-rock audience.

The massive success of ZZ Top rests fairly and squarely with the utterly indispensable playing of Frank Beard. Although mocked for the simplicity of his style, by people who don’t know any better, it is Beard’s trademark ‘Texas Shuffle’ that underpins and defines the band’s sound. Drummers the world over will know very well, that the deceptively simple backbeat drumming that Beard brought to the table, relies on an inbuilt sense of timing that players are born with, and it cannot be taught or learned. Ironically, it’s the simplicity of Beard’s style of drumming that hides the difficulty of mastering his style. With guitars, complexity is hard, with drums, it’s simplicity that is harder. And Frank Beard locked down that simple rhythm on each and every song that ZZ Top recorded and played in concert throughout  the band’s long and hugely successful career. Former Guns ‘N’ Roses drummer Matt Sorum summed up Beard’s technique – “It might sound easy but possibly one of the hardest things I’ve ever tried to learn and still trying …… that being said he was born with it in his blood with that Lil Ol Band from Texas they had a name for it … The Texas shuffle! Maybe most folks wouldn’t appreciate it as much as us drummers,”

Together, the trio that made ZZ Top, with their unpretentious blues-boogie sound, became a staple for American rock stations, and eventually, MTV, with their cartoonish videos for hit singles like Got Me Under Pressure, and Legs, which ensured that parent album Eliminator achieved Diamond status for ten million copies sold in the US, and it remained on the Billboard 200 chart for a staggering one-hundred-and-eighty-seven-weeks, which equates to a period of three-and-a-half years.

Frank Beard was plagued with health problems throughout his life, he underwent an emergency appendectomy in 2022, causing him to miss some ZZ Top shows. In March 2025, Beard was again forced away from the band on tour, citing unspecified health issues. Although it was always planned that his absence would be temporary, this time, he was destined not to return. Frank Beard passed away at his home, a Texas ranch, under hospice care, with his family by his side.

Drummers Review extends sincere condolences to Frank’s wife Debbie, and three children.

FRANK BEARD 11.06.1949 – 17.08.2026.

ANDY HUGHES.

 

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