Ringo Starr explains why it is “impossible” to copy his drumming style
It’s no coincidence that The Beatles’ music evolved dramatically after Ringo Starr joined the band. Having started his musical journey on the washboard in the skiffle craze of the late 1950s, Starr’s trajectory shifted when he received a second-hand drum kit for Christmas. This gift allowed him to hone his rhythmic style, which he further developed with Rory Storm and the Hurricanes, transitioning from skiffle to the burgeoning rock ‘n’ roll scene. His time with the Hurricanes proved invaluable, giving him the experience and confidence that would later serve him well. It was during this period, in the vibrant music scene of Hamburg, that Starr first crossed paths with his future bandmates, The Beatles.
Due to a fictitious story from a 1981 episode of the BBC Radio 4 comedy series Radio Active, it has long been thought that Beatles frontman John Lennon once said Starr “wasn’t even the best drummer in the Beatles”. However, he was, without a shadow of a doubt, the finest rhythmic maestro in the band and among the very best of all time. People often hail Ginger Baker, Mitch Mitchell, and Keith Moon as the finest from this early classic rock era, but Starr did a lot to innovate.
Starr played a handful of stand-in shows with The Beatles while in Hamburg in 1960, and unsurprisingly, after they fired Pete Best in August 1962, he was asked to join the fold. He was the most accomplished drummer around, and the band had experienced first-hand his offbeat grooves, driving tom-toms and prominent use of the cymbals. A unique player employing a matched grip, tuning his drums lower and muffling devices on the tonal ring, Starr had a distinctive sound, and it was perfect for this young but bold group who were starting to take the not-long established rock ‘n’ roll conventions and invert them according to their personal sensibilities.
Starr’s unique approach to drumming, including his tendency to sit higher than most drummers—to better access the tom-toms and cymbals and execute rimshots with ease—was transformative for music. His philosophy of serving the song rather than showcasing his skills at the expense of the band set him apart from the outset of his career. Unlike many drummers of the time who were eager to steal the spotlight, Starr was content to make the music as substantial and cohesive as possible. This mindset became a hallmark of the 1960s, in stark contrast to contemporaries like Ginger Baker of Cream, who were known for their flashy and dominant performances. Starr’s restraint and focus on enhancing the overall sound proved groundbreaking and enduring.
For the likes of Phil Collins, Dave Grohl, Chad Smith, and many other subsequent drumming icons, to cite Starr as one of their ultimate heroes goes a long way in undoing the fallacy that he is not a good drummer. His loose grooves and understanding of complex time signatures were key to The Beatles moving out of rudimentary rock ‘n’ roll and embarking upon their magical mystery tour of musical innovations later in their career.
According to the man himself, though, one fundamental factor underpins his style and brilliance, which is so unique that it makes his approach “impossible” to properly emulate. This is the fact he is left-handed, which decides all of his rhythmic choices.
Speaking to the Associated Press in 2024, he explained: “I am left-handed, born left-handed, and my grandmother decided the Devil had me. So, you know, people try and follow the fills I do, say, it’s impossible, ‘coz I’m using this hand. You know, I can go around the drums, if I’m going, tom, tom, floor tom. This way, (plays in the opposite direction) if I’m leading, I can only come from the floor tom around. But, it’s helped me. So, the handicap is worthwhile.”
Starr wasn’t just unique in his philosophy—his rhythms were inherently different. From the outset of his drumming journey, his left-handedness set him apart. While being left-handed might not significantly impact other instruments, it profoundly influenced Starr’s approach to the drums. Playing on a right-handed kit, he developed a distinct style and unconventional pathways to grooves that set him apart from his peers. This natural divergence in technique wasn’t just a quirk; it helped create drumming history.
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