Drumscore
Drum Sheet Music, Playing Guides, Lessons and Transcription Services
Browse Drum Sheet Music by Artist
INXS - Drum Sheet Music
INXS were a defining force in Australian rock and new wave music, rising to global prominence throughout the 1980s with a sound that blended funk-driven rhythms, rock energy, and infectious pop sensibility. Formed in Sydney in 1977 as The Farriss Brothers, the band became one of the most celebrated acts of their era, with frontman Michael Hutchence's charismatic presence anchoring their worldwide appeal. Their catalog remains a landmark of 80s rock and new wave, influencing countless artists across multiple genres.
Drummer Jon Farriss was a cornerstone of the INXS sound, delivering tight, groove-focused performances that bridged the gap between new wave precision and rock power. His playing was characterized by a strong sense of pocket drumming, locking in with the bass to create the rhythmic foundation that gave tracks their signature danceability and drive.
Drumming Style & Techniques
- Funk-influenced groove patterns that prioritize pocket playing and rhythmic lock with the bass guitar
- Syncopated snare placements that give INXS tracks their distinctive new wave rhythmic feel
- Dynamic control — shifting between restrained verses and powerful, driving choruses to support song structure
- Consistent use of eighth-note hi-hat patterns to maintain momentum across up-tempo rock tracks
- Dance-oriented rhythmic feel that blends rock drumming with elements of funk and pop
Shabooh Shoobah (1982)
Shabooh Shoobah is the third studio album by Australian rock band INXS, released in 1982 during the height of the new wave movement. The album marked a significant step forward in the band's sound, blending post-punk energy with danceable grooves and polished production. It helped establish INXS as a rising force in the international rock scene throughout the early 1980s.
Jon Farriss's drumming on Shabooh Shoobah is a defining element of the album's character, combining tight new wave rhythms with an instinctive feel for dynamic groove and space. His playing draws on the percussive, mechanical precision associated with 80s new wave while retaining a live, organic energy that drives the band's sound forward.
Drumming Highlights
- Tight, syncopated snare patterns that lock in with the bass to create the album's signature danceable pulse
- Restrained hi-hat work typical of new wave drumming, using closed and open combinations to build tension and release
- Driving eighth-note kick patterns that anchor the band's rhythmic foundation across up-tempo tracks
- Dynamic use of fills transitioning between verses and choruses, adding momentum without overplaying
- Consistent groove-oriented playing that prioritizes feel and pocket over technical complexity, reflecting the new wave aesthetic
The Swing (1984)
The Swing is the fourth studio album by Australian rock band INXS, released in 1984 during the height of the new wave era. The album marked a significant creative evolution for the band, blending rock energy with synth-driven production and danceable grooves that helped propel INXS toward international recognition. Its polished yet dynamic sound captured the spirit of mid-80s rock and remains a landmark record in Australian music history.
Jon Farriss delivers drumming that balances tight, rhythmic precision with an infectious groove, perfectly suited to the new wave and post-punk textures of the album. His performances combine driving rock energy with syncopated, dance-oriented patterns that lock in with the band's layered synth and guitar arrangements.
Drumming Highlights
- Syncopated hi-hat patterns that complement the album's danceable new wave rhythms
- Tight snare placement and controlled dynamics that drive the mid-tempo grooves throughout the record
- Interplay between kick drum and bass that creates a locked-in rhythmic foundation across tracks
- Use of open hi-hat accents to add texture and energy during chorus sections
- Consistent use of a straight, punchy backbeat that anchors the band's melodic and synth-heavy arrangements
Kick (1987)
Kick is the sixth studio album by Australian rock band INXS, released on 19 October 1987 and produced by Chris Thomas with mixing by Bob Clearmountain. The album became a landmark of late-80s new wave and rock, catapulting INXS to global superstardom with a collection of songs so strong the band aimed for every track to be a potential single. Its polished yet energetic sound helped define the era's mainstream rock aesthetic and remains a touchstone of 1980s popular music.
Jon Farriss delivers drumming that blends tight, punchy new wave grooves with a pop sensibility perfectly suited to the album's radio-ready production style. His performances are characterized by a consistently driving backbeat, crisp snare work, and restrained yet purposeful fills that serve the song without overplaying, reflecting the high-gloss production approach of Bob Clearmountain's mix.
Drumming Highlights
- Tight, controlled backbeat patterns that anchor the album's new wave rhythmic foundation across multiple tracks
- Crisp snare hits with a characteristic 80s gated or ambient reverb tone, emblematic of the era's studio drum sound
- Syncopated hi-hat patterns that interlock with the bass and rhythm guitar to create the album's signature propulsive groove
- Disciplined use of fills and transitions that prioritize the song's momentum over technical showmanship
- Consistent dynamic control that shifts between verse restraint and chorus power, supporting the album's pop-oriented song structures
X (INXS Album) (1990)
INXS released X in 1990, their seventh studio album and a follow-up to the massively successful Kick. The album reached number one in Australia and performed strongly across international markets, producing hit singles including "Suicide Blonde" and "Disappear." It cemented INXS as one of the defining acts of late 1980s and early 1990s alternative rock.
Jon Farriss delivers a polished, groove-driven performance throughout X, blending rock power with danceable rhythmic sensibility that was central to the INXS sound. His drumming balances tight, controlled dynamics with punchy accents, supporting Michael Hutchence's vocals while driving the band's rhythmic momentum.
Drumming Highlights
- Driving straight-eighth-note kick and snare patterns on "Suicide Blonde" that anchor the song's rock-dance hybrid feel
- Consistent use of open hi-hat accents to add texture and lift across mid-tempo grooves
- Syncopated snare placement on verses that creates rhythmic tension before resolving into chorus fills
- Restrained, dynamic drumming on ballad-leaning tracks that demonstrates strong brush-style sensitivity and ghost note control
- Tight rimshot snare tone used throughout the album, giving the kit a crisp, studio-polished character typical of early 1990s production
Other Releases (INXS)
INXS built their reputation across multiple releases throughout the late 1970s, 1980s, and 1990s, establishing themselves as one of Australia's most iconic rock and new wave acts with a catalog that spans a range of styles and eras. Their broader discography beyond their landmark albums includes singles, B-sides, compilations, and international releases that showcase the band's evolution and sonic versatility. These recordings reflect the band's consistent ability to blend rock energy with danceable grooves and atmospheric textures.
Jon Farriss was a foundational force behind INXS's signature rhythmic identity, bringing a style that combined tight, funk-influenced grooves with an instinctive feel for dynamics and space. His drumming across the band's wider catalog demonstrates a keen interplay between the kit and the rhythm section, driving the band's new wave sound with precision and feel.
Drumming Highlights
- Funk-influenced hi-hat patterns that lock tightly with bass guitar lines to create a driving rhythmic pocket
- Dynamic use of ghost notes on the snare drum to add texture and groove without cluttering the mix
- Syncopated kick drum patterns that complement the band's danceable new wave rhythmic feel
- Restrained, space-conscious cymbal work that supports vocal and melodic elements rather than overpowering them
- Consistent use of cross-stick snare technique on quieter, more atmospheric tracks to maintain pulse with subtlety
HOT: Most Popular Recently
- Zombie by Jamie T
- Dreams by Van Halen
- Waiting Room by Fugazi
- I Saw Her Standing There by The Beatles
- Have A Cigar by Pink Floyd
- Come Together by The Beatles
- She's Not There by Santana
- Appetite For Destruction (Full Album) by Guns N' Roses
- Mary Janes Last Dance by Tom Petty And The Heartbreakers
- I Wanna Be Adored by The Stone Roses
Recommended Lessons
- Categorizing Your Playing
- The Flamacue Played On The Feet
- 32nd Note Flicks Before Both Beats 2 And 4
- 16th Note '43333' Rhythm With Mid Placed 32nds
- 'A B C' Structure
- A A A B Exercises Using Full Bar Sixteenth Note Fills
- Replacing The 4th And 5th Stroke Of A Single Stroke 7 With A Kick
- 5/8 Groove Construction || Six Sixteenth Note Double Kick
- 'A A B B' Structure Using Two Bar 9/8 Grooves
- Paradiddle Groove Style Fill