Sydney Drum Show News »


Posted in Sydney Drum Show News    //    Post Date - May 1, 2017


The full performance and session program has been released for the inaugural Sydney Drum & Percussion Show, occurring at Rosehill Gardens Grand Pavilion on May 27 & 28, 2017. There’s something for everyone, from headliners Thomas Lang and Virgil Donati lighting up the stage together with their percussive magic to symphonic ensembles, a rockabilly trio, soul music, metal drummers, e-drummers and much, much more. Learn from the weekend, join a drum circle, see try and buy at Australia’s biggest pop-up drum shop. Check out the 2 day program below or download a pdf here




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Posted in Sydney Drum Show News    //    Post Date - April 30, 2017

Ahead of the Sydney Drum & Percussion Show (May 27 & 28 Rosehill Gardens), acclaimed international percussionist and educator Alex Pertout discusses the cajon.
Alex’s credits include Powderfinger, Paul Kelly, Jackson Browne, Little River Band w/John Farnham, Archie Roach, Hunters & Collectors, Daryl Braithwaite, Ute Lemper, The Commodores, Tommy Emmanuel, and more, plus percussive work on numerous motion pictures including Crocodile Dundee, Gross Misconduct, Aladdin: The Return Of Jafar to name a few.

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Posted in Sydney Drum Show News    //    Post Date - April 26, 2017

Gerry has performed and/or recorded with artists including Tommy Emmanuel, Larry Carlton, Guy Sebastian, Anthony Callea, David Campbell, Olivia Newton John, Stylus, The Seekers, Roachford (UK) and more He is currently a long serving member of Geoff Achison and the Souldiggers, The Jack Pantazis Quartet, Project 3 and Damage.

Sydney Drum & Percussion Show May 27 & 28 Rosehill Gardens Grand Pavilion. Tickets on sale at, and Oztix Retail Outlets

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Posted in Sydney Drum Show News    //    Post Date - April 24, 2017

Sydney Drum & Percussion Show
artist Lozz Benson has just released a new track with her rockabilly and blues trio That Red Head. It’s a punk-infused anthem titled ‘Gotta Be A Man’. Powered by Lozz Benson’s propulsive drums and fierce vocals, the relentless single is a musical manifestation of Benson’s frustration at how women are treated in the Aussie music scene – and by extension, in life. Despite her young age, frontwoman Lozz Benson has been around the blocks in the Aussie music scene, collaborating with legends like Paul Kelly and playing drums for bands including Urthboy and buzzy all-female outfit Rackett. Despite countless positive experiences as she’s earned her stripes, Benson has also been on the receiving end of the lack of respect and recognition often extended to female muso’s in an industry that is predominantly run by men.
“Gotta be a Man is an energetic anthem to empower and inspire. I’m shifting the band’s sound from our last release and changing how I front the band – from a sassy laid back songstress to a badass rebel with an attitude,” says Lozz
That Red Head has also announced an east coast tour beginning on May 6. You can catch Lozz at the Sydney Drum & Percussion Show too, which runs on May 27 & 28.

Lozz Benson is a powerhouse drummer from Sydney and That Red Head is an extension of her love for the dirty blues and old school rock’n’roll. She has recorded with Paul Kelly, Jacob Stone (Bluejuice), Jeremy Davidson (The Snowdroppers), Steve Smyth, All Our Exes Live in Texas, Sandy Evans (OAM, The Catholics), Jim Moginie (Midnight Oil), Ryan Hazel (The Fumes) and Chris D’Rozario (Brian Setzer). She has toured with Urthboy, Pat Capocci, Hedgefund, and Sirens Big Band. She is the newest member of Rackett who have supported DZ Deathrays, Stonefield, Sticky Fingers, Abbe May, Bleached (US) and will soon support The Darkness on their upcoming tour of Australia. Lozzalso recently received Drumteks AUDW Best Female Drummer Award.


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Posted in Sydney Drum Show News    //    Post Date - April 24, 2017

slimjimDapper rockabilly drum legend Slim Jim Phantom, who made his name playing train-like shuffles and contagious punk beats with The Stray Cats is touring Australia with his trio in May and has added a Sydney Drum & Percussion Show meet & greet session to the end of his tour.

Since The Stray Cats first etched their name into rock n roll history with their punkified version of rockabilly in the late 70s, Phantom has been able to trade on that name by touring with various rockabilly flavoured projects. There was Phantom, Rocker and Slick with former Stray Cat bassist Lee Rocker and Bowie guitarist Earl Slick. Another is Dead Men Walking with The Damned’s Captain Sensible and The Alarm’s Mike Peters. However the most celebrated is probably The Head Cat which featured gun LA guitar picker Danny B Harvey and garage rock legend Lemmy.

Slim Jim has also recently released his biography, A Stray Cat Struts in which he recounts not just the Stray Cats’ rise but a different type of life spent in the upper echelon of rock-and-roll stardom. The Stray Cats developed a signature sound and style that swept across the world, released multiplatinum albums, and were embraced and befriended by classic rock acts like the Rolling Stones and Led Zeppelin, as well as original punk heroes such as the Sex Pistols, the Damned, and the Clash, and rock-and-roll originators Carl Perkins and Jerry Lee Lewis. After ten years of marriage to actress Britt Ekland, Slim Jim moved down the hill to Sunset Strip, where his son was raised and he owned the world-famous rock-and-roll bar Cat Club while continuing to play with a host of well-known musicians.

Courtesy of Pro Music Australia, Gretsch drums endorsee Slim Jim Phantom will be at the Sydney Drum & Percussion Show for a meet and greet session on Saturday May 27.

Friday 12th May 2017: Waves (Towradgi Beach Hotel) – Wollongong NSW
Saturday 13th May 2017: Lizotte’s – Newcastle NSW
Sunday 14th May 2017: Bald Faced Stag – Sydney NSW
Wednesday 17th May 2017: Flying Saucer Club, Elsternwick – Melbourne VIC
Thursday 18th May 2017: Satellite Lounge – Melbourne VIC
Friday 19th May 2017: Tewantin R.S.L. – Noosa QLD
Saturday 20th May & Sunday 21st May 2017: Blues on Broadbeach Festival – Gold Coast QLD. FREE
Saturday 27th May: Sydney Drum & Percussion Show. Rosehill Gardens Grand Pavilion (Meet & greet session only)

Gretsch drums distributed in Australia by

Check out this 2014 interview we did with Slim Jim on a previous Australian tour

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Posted in Artists, Interviews, Sydney Drum Show News    //    Post Date - April 7, 2017

Michael Schack-5090

Michael Schack is a busy man. Drummer, music producer and Drums’nDJ artist from Belgium, he tours the world with Netsky, SquarElectric and as an international V-Drums artist/demonstrator, both solo and with V-Topia. He’s a consulting V-Drums artist for Roland Corporation, and also provides technical feedback and creates preset content for Roland drums and percussion products. Plus, he’s an online drum lesson affiliate instructor on … and he’s coming to Australia to perform at the Sydney Drum & Percussion Show May 27 & 28 at Rosehill Gardens Grand Pavilion as well dates in some other cities.  Australian Musician’s Greg Phillips chats to the vibrant Belgium beat maker.

Michael, let’s begin by going way back. Did you have drummer heroes when you were learning drums?
Absolutely. When I was really young my parents took me to a Billy Cobham clinic. It was the end of the 70s and I was really young and it was my first drum clinic experience, so Billy Cobham has always been my hero. Another one who I really liked is Stewart Copeland of the Police but I never really got into the cliche drummer’s drummer like Neal Peart or something. I had no knowledge about Rush for instance. When I was young I mainly played  along to records by George Clinton and Funkadelic. I remember one album I totally played along to lots of times and that was Herbie Hancock VSOP Live, a double album. It was two discs and the send one was the more funky kind of stuff and the first one was more bebop with Tony Williams on drums. From a very young age I was totally into bass and P Funk and a bit of The Police, The Bothers Johnson, mid 80s funk kind of things.

Has there been a single piece of advice about drums that someone has offered which has stayed with you?
I actually didn’t go to any conservatory or anything like that. I just went to music school when I was in high school. I didn’t fit in with the more traditional drum tuition which was given there. When I was young I had a private drum teacher that I went to about every 3 weeks. He was maybe a little bit of a rebel himself and he made me play along to more challenging drum stuff. His advice was, listen to this, listen to this, listen to this and that’s how I got into Tower of Power or Led Zeppelin or The Shadows. His advice was, whatever you do, try to make as many mistakes as you can! At that time there was no Facebook or YouTube or whatever. For young drummers now there is so much information available. I mainly depended on my parents music choices and him giving me tips, the rudiments, you know paradiddles etc.

You’re not only known as one of world’s greatest exponents of electronic drums but you’ve had a lot to do with the actual development of the V-Drums with Roland. What are you most proud of in that regard?
Well I am not the only one doing this. Simon Ayton from Australia for example is another who is involved. We’re kind of buddies, who push the Japanese to do better all the time and do some more risky stuff. One of the main things I collaborated on … it started with the TD-20 in 2003 and came out in 2004. But the thing that I am most happy has become a success is the SPD-SX. I was also very much involved in the TD30, regarding the user interface and also the sound content and I am really proud of that too. There was also the TD-9 and TD-25 but the SPD-SX and TD-30 were the main things.

spd-sx_angle_galThe SPD pad has become a real game changer in music ….
Yes and unfortunately the original producer, developer Mr Masayuki Umeda passed away nearly two years ago. He was so keen about his new SPD-SX, the successor to the SPD-S which already had a very long lifetime. But he did not live long enough to see the success of the SPD-SX and how it exploded even more in the last two years. You cannot turn on the TV without seeing a band with the SPDSX or even DJs or solo performers. It’s everywhere. With a  tool like this, many live performers are looking for solutions to enhance their performance but still be in control. Some bands trigger backing vocals. There are metal bands who are a little bit against electronic drums but always have the SPD-SX for those low booms sound that they use. Its not unusual for the SPD-SX not to be used for drums at all. I am convinced with the evolution of music and also the affordability of other sample pads that the SPD-SX is going to grow more.

There’s a lot involved in something like the SPD-SX. A lot of musicians don’t have the time to fully explore the features. What kind of things are musicians missing out on by just scratching the surface of the SPD-SX?
First of all, people tend not to read manuals anymore. It’s very simple. So they totally depend on YouTube or Facebook for problem solving. What we have happening here in Belgium is that there are a couple of sound engineers … who have become SPD-SX experts. They sometimes call me or they assist drummers in fitting the SPD-SX into their performance. I have done some Drumeo lessons on the SPD-SX and they are getting some views but still many think the SPD-SX is a very complicated thing but it is actually not at all. It’s nearly plug and play! But with every SPD-SX there is a CD inside the box and it’s also downloadable and it contains software, it’s the Wave Manager and it allows you to drag and drop samples from your computer or any hard disc onto the SPD-SX but still a lot of people don’t even open that CD. So the potential is still huge. People are very impatient sometimes and when they buy something they want it to work as soon as possible. This is a sampler and they should customise it a little bit but once they get into it they become a fan and a better user. Maybe a lot of the users only use 10 percent of the possibilities that are in there.

Michael Schack-5119

I imagine when you’re doing huge EDM show in an arena, getting a great sound through the PA is a lot easier with V-Drums than it would be with an acoustic kit?
Well I actually wouldn’t be able to play a Netsky gig with an acoustic drum set. It is very simple. It’s a very specific genre and sound. In electronic music, one of the things that gets the people dancing is the fact that you tune the kick sounds to the tonality of the songs, which is not possible with an acoustic drum set. You cannot retune every acoustic kick for every song you play. Now with the TD-30 but also the TD-50, sound engineers have all the possibilities of doing a completely separate mix in the front of house PA system from what the drummer is hearing. One of the features of the new TD-50 is that the drummer can have totally separate monitoring and touch faders for their own in ear mixing without changing the sound for the engineer. So without microphones involved, they can have a completely independent mix. Also the fact that you can load samples means that you can take the drum sound from the album production straight to the live stage without any laptops and so on.

With the upcoming Sydney Drum & Percussion Show, I have been listening to drums more in music as I am interviewing more drummers. I was talking to Jim Eno, the drummer of Texan band Spoon the other day. I noticed that the hi hats on their records were more prominent than other bands. He told me that it was nothing to do with the way he plays but they do like to have the hi hats loud in the mix.  I was wondering if you are hearing  any trends in the way drums appear on records at the moment?
Certainly. Fat kicks and very fat snares and everything is layered. Not all of course, some of the more traditional jazz recordings and acoustic recordings will not use layering because they will want it to breathe and sound more natural. On every commercial recording today, there’s like loops happening, layering of kick and snare. For example, the acoustic kick and acoustic snare will still be there but there are layers on top and beneath it. There’s always some kind of hand clap involved. Cymbals will usually be very natural but will be cued a little bit differently. What is also happening a lot is side chaining. This is something that the EDM world has been using for years and it is becoming more and more common, even in acoustic recordings. It’s where the drummer with his kicks and snares will trigger a compressor, which for instance is linked to the bass sound or some of the keyboard sounds. Every time he plays a kick or a snare, this compressor on the other sounds makes it dip down a little bit. This is why music today is sounding so much louder today than it used to be when we listened to a Stevie Wonder recording or Led Zeppelin recording because now they can have the drums as loud as possible without consuming too much energy from the bass and the keyboards. They all work together. So even when you have a live bass part, played live by a bass player in a studio recording any engineer will try to side chain compress from the kick and the snare from that bass part. Every time the kick is sounding, the bass goes down a little bit but the release from the bass sound is still there and this means  instead of having kick and bass on top of each other, which would totally boost everything to the red zone, now they work together. It also gives a bit of a different swing feel. And now that also happens live.

The hi hat thing, I imagine it’s a particular thing for the Spoon guys. But thanks to the fact that also some cymbal companies discovered that 16 inch hi hats can sound very good in a pop song. Now hi hats and vocals for instance can work together a little bit more. I’ve been using 16 inch hi hats in acoustic recordings since ten years ago or something. I started using this when a sound engineer told me, hey let’s use some bigger hi hats because the singer has a really nasal hi frequency kind of sound. I always had problems making the hi hats and vocals blend. We went to bigger hi hats and immediately, the vocals were louder and the hi hats were audible because they could be pushed a little bit more and that’s also what is happening a lot. Thanks to computer technology and the way people can look for frequencies, they can be much more precise than they used to be and those recordings can be really in the face and every instrument can be really loud without killing the other ones. I can Imagine with Spoon that that is one of the things that they discovered as well. Let’s make the hi hats as loud as possible and it doesn’t take anything away from the rest of the music.

Michael Schack1The thing I notice about your drumming is how hard you hit them …
It’s just my style. From a very young age, I have always been a hard hitter. I like loud music but I can also relax on soft music. Physically for me I always enjoy playing so much and people ask me why I hit so hard and I can’t explain it. Sometimes when I was doing some studio recordings, I did hear that maybe I shouldn’t play that loud on a particular track … maybe the snare was a little bit too harsh and I needed more tone or whatever but the thing is… I am always dancing internally! When I hear some kind of bass part that really inspires me or a chorus, I immediately go into adrenaline mode and that’s who I am. I cannot explain it. It’s nothing I would tell drummers to do, that you have to play this hard to make your sound better … it’s a very personal thing and there’s no law against it. It’s like vocalists. Some vocalists really dance and move and put everything they have into their vocal performance and some other vocalists are introverted and fragile. It can be the same with drummers.

You play with Netsky Live. There’s a perception with some rock music fans that DJs are basically just pushing buttons but you have really turned that concept on its head with what you do …
Netsky himself is a producer and he is a DJ and he wanted to prove he’s a musician. His music when we play it live .. he still pays DJ sets …  and when we play live it is a totally different experience. There’s another band in Belgium which I was involved with called Milk Inc who were successful in Europe in the 90s. Same thing, he’s a DJ but spins live. It’s not like they push play and they have a pre-recording of one hour on their USB stick … which many have actually. They are musicians and songwriters as well and want to make  their music a long term thing. In the current electronic music world which is now the mainstream world in the charts … the only way an electronic music producer and a DJ can be a main stage artist is to go live. You reach more people and expose your music to a bigger audience not just the EDM scene and as a music producer, you learn to play live. I really respect a lot of the producers and DJ who want to go live because it is a risk … it is very expensive. There aren’t many DJs who want to go out of their comfort zone and try this but the ones who do are the ones who will stay for a long time.

What can we expect from you at the Sydney Drum and Percussion Show?
I’m going to do my DJ/drummer thing. I have always been a drummer but I have found a way to integrate a little bit of DJism. I am also a fan of this kind of music culture because I grew up with the big explosion of original hip hop artists and so on. I find it inspiring. Thanks to technology I can integrate everything but I am also a drummer who wants to take risks. I am mashing up different genres so there will be some electronic music but I am always mashing it up with break beats, rock atmosphere and sometimes challenging myself with crazy fills. I’m just having fun and proving you can be a really, really positive drummer with lots of energy and musicality on today’s drum sets and the TD-50 is an amazing tool to do this on. There is one main thing I always tell people and I think it is a very important message. With all the online activity and discussions about music genres. I think the main thing to remember and it’s something I learned from touring all over the world and that is that there is no such thing as bad music. Music cannot be hateful. There’s the music you know and like and the other extreme is the music you don’t like but that doesn’t mean that it is bad music or that you have to hate it. Then in the middle of that is all the music you don’t know yet or you don’t have affection with yet. But there is so much hate about music online. It’s great that the Sydney Drum & Percussion Show is happening because it has been a while since there was a drum show in Sydney. I hope many people will show up and enjoy the weekend and see things and say, hey that’s something I want to know more about and hope people don’t say, I hate this performance. I prefer they say no, I don’t like that but it’s OK. That’s what music is all about, it’s not politics.

Sydney Drum & Percussion Show May 27 & 28 Rosehill Gardens Grand Pavilion
Tickets available through Oztix now

Michael Schack website:

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Posted in Sydney Drum Show News    //    Post Date - April 6, 2017

Respected Melbourne-based drummer Gerry Pantazis presents a another lesson for us, this time on drum dynamics. Here’s part one of this lesson.

Gerry has performed and/or recorded with artists including Tommy Emmanuel, Larry Carlton, Guy Sebastian, Anthony Callea, David Campbell, Olivia Newton John, Stylus, The Seekers, Roachford (UK) and more He is currently a long serving member of Geoff Achison and the Souldiggers, The Jack Pantazis Quartet, Project 3 and Damage.

Sydney Drum & Percussion Show May 27 & 28 Rosehill Gardens Grand Pavilion. Tickets on sale at, and Oztix Retail Outlets

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Posted in Sydney Drum Show News    //    Post Date - April 4, 2017

Michael Schack-5090


ON MAY 27 & 28

Tickets on sale 9am today from this link!

Australian Music Association has today announced the inaugural Sydney Drum & Percussion Show set to engulf the Rosehill Gardens Grand Pavilion on May 27 and 28.  Proudly presented by Australian Musician, the monster exhibition promises to be an electrifying presentation of all things hit.

Boasting an impressive live performance program with some of the world’s best players and biggest names including Thomas Lang (George Michael, Tina Turner, Peter Gabriel), Virgil Donati (Tommy Emmanuel, Steve Vai), Michael Schack (Netsky) and more (with Lang and Donati playing together for the first time ever), the show will also feature a huge array of drum gear and brands and will act as the country’s largest pop-up drum and percussion shop.  You can see, try and buy drum kits, cymbals, orchestral and traditional percussion, electronic percussion, hand percussion and accessories from all the major brands, plus never-before-seen gear.  There’ll be some tasty home grown and handmade gear too.

Run by the same team that put on the annual Melbourne Guitar Show (MGS) and based on the successful MGS model, the Sydney Drum & Percussion Show will also host information seminars, demonstrations, and live performances from Australia’s most talented drummers and percussion players including Lucius Borich (Cog), Lozz Benson (Urthboy, Drummer Queens), Stan Bicknell (Kimbra, Miami Horror) and more.  From double-kick drummers, groove and touch drummers and jazz stylists, to exotic percussion players, orchestral percussionists, and hard hittin’ rock n rollers, there’ll be something for everyone.

The voice of the Australian music products industry, the Australian Music Association (AMA) is thrilled to present this drum-centric weekend.  “There’s so much about percussion, it’s the world’s most accessible form of music – people take their first steps in music through percussion,” says AMA CEO Rob Walker.  “We are excited to showcase our industry’s products and the wealth of local talent that Sydney and Australia has to offer, as well as international guests – three of the best in the world!  We seek to educate and entertain, and showcase and grow our drum and percussion community.”

Punters will have the opportunity to participate in drum circles and other hands on percussion workshops, see Australia’s leading percussion ensembles, Taikoz and Synergy Percussion, as well as leading student percussion ensembles from The Sydney Conservatorium and combined school’s ensemble, Drumfill.  They can experience the latest electronic drum technology, meet a stack of the industry’s finest drum and percussion players, take part in workshops on drumming for fitness and wellbeing, performance clinics, panels and more.

Additionally, the 2017 Sydney Drum & Percussion Show will provide a hands-on chance to see, hear and play a broad range of the world’s favourite brands.  It will also see exhibitors offering great show deals.

If you can hit it, ring it, shake rattle and roll it, it’ll be at the Sydney Drum & Percussion Show.

The Sydney Drum & Percussion Show will be held at Rosehill Gardens Grand Pavilion on May 27 & 28, 2017



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Posted in Sydney Drum Show News    //    Post Date - April 4, 2017

DS88_Cover_HRIconic Australian drum magazine Drumscene has thrown it’s weight behind the Sydney Drum & Percussion Show with a six page feature in the new issue, out tomorrow. Issue 88 of the publication offers Sydney Drum & Percussion Show artist profiles, exhibitor list and a show floor plan.

Look out for the new issue of Drumscene featuring Australian drum legend Andy Gander on the cover. Check out Drumscene’s Sydney Drum & Percussion Show coverage online here

Tickets to Sydney Drum & Percussion Show are on sale 9am today April 5th here

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Posted in Sydney Drum Show News    //    Post Date - April 4, 2017

Ahead of the Sydney Drum & Percussion Show (May 27 & 28 Rosehill Gardens), acclaimed international percussionist and educator Alex Pertout discusses 6/8 rhythms.

Alex’s credits include Powderfinger, Paul Kelly, Jackson Browne, Little River Band w/John Farnham, Archie Roach, Hunters & Collectors, Daryl Braithwaite, Ute Lemper, The Commodores, Tommy Emmanuel, and more, plus percussive work on numerous motion pictures including Crocodile Dundee, Gross Misconduct, Aladdin: The Return Of Jafar to name a few.

Drum show info:
Alex info:

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