the market’s shifting dynamics. “Sales over the last couple of years have been filled with special-release items,” Kinney said, pointing to marquee drops like Tama’s 50th anniversary kits, Zildjian’s 400th anniversary releases, DW’s DWe drums and Roland’s latest VAD series. These exclusive offerings have kept the high-end market engaged, especially among dedicated brand loyal- ists and collectors. That said, it’s not just the limited runs that are keeping the beat steady. “We’re seeing acoustic drum sets still performing well for us, the strongest being Tama and Ludwig,” Kinney said. “But in terms of growth, electronic drums are clearly the strongest-performing category right now. We have incredibly knowl- edgeable, friendly people at the counter, and folks in the warehouse dedicated to shipping things safely and quickly.” Kinney shared that entry-level interest is still alive and well. “We’re still getting low-end business, so there are people out there who still want to get started on the drums, which is great,” he said. “People definitely want the all-in-one option, and the competition is very fierce at the moment.” One consistent trend is the rise of electronic drums that look and feel like their acoustic counterparts. Kinney said that demand is strong, but pricing re- mains a hurdle. “They’re very popular, but they’re priced high. It would be great to see a sub-$2,000 set from one of the big-name brands,” he said. “We’re seeing more and more people buying electronics directly
less someone shows them. If you can get your staff excited about a product, they can demo it and add it to the sale. That kind of hands-on experience makes a huge difference.” Among the best-sellers at Rhythm Traders are Sonor’s AQX Micro,
We see this as a long-term business model mistake. Thankfully, a few top drummers still do masterclasses and clinics that we bring in whenever possible.” At a time when many independent music retailers are tightening their offerings, West Coast Drum
Jungle and Jazz kits — small- footprint acoustic sets that pack serious punch. These kits’ portability and tone make them ideal for play- ers of small venues, those looking to outfit practice spaces and drummers want- ing quick setups. “Drummers are still reluctant to play out with an e-kit despite the
Shop (WCDS), in Bellevue, Washington, is leaning in on immersive customer experiences, high-perfor- mance gear and commu- nity-building events. For WCDS owner Chase Culp , the strategy is paying off. This year, the shop has seen standout per- formance in both core categories
industry’s best efforts to create affordable options that don’t have cords sticking out of them,” Boynton said. “Acoustic kits are trending back in a big way.” Drum World in Tulsa is leaning into a more personal, curated business model — one that reflects its “old school” roots and its local community of drummers. With a steady stream of
and niche offerings, with electronic kits, especially Roland’s TD-series, leading the charge. In addition to digital kits, begin- ner-friendly acoustic sets with included cymbals, like the Yamaha Stage Custom, Ludwig Element and Tama Imperialstar, remain strong movers.
“We’ve experienced signifi- cant demand for items like the Trick Drive Shaft and Tama Mirror Glide ped- als,” Culp said. “We sell those using a strong in- store display, where we actively encour- age players to sit down and feel the difference firsthand. Customers can directly compare standard pedals against those fitted with
students, churches, studios, schools and working drum- mers walking through its doors, Drum World has moved away from the one- size-fits-all approach in fa- vor of handpicking drums, cymbals, and hardware that meet specific needs. It’s a shift that owner Mat Donald- son said just makes sense.
“Package kits are still a big mover,” Donaldson said, referencing best-sell- ers like the Tama Imperialstar, Gretsch Energy and Ludwig Evolution. “Those packaged kits still move well, but we will have to see whether or not the manufacturers price increases, tariffs and stock levels affect those sales in the near future.” As the shop celebrates its 35th anniversary this year, Donaldson said he’s proudly em- bracing the business’s old school ethos, especially when it comes to education and artist outreach. “We have done so many drum clinics over the years,” he said. “Most of the top drum manufacturers have greatly reduced their budgets on education, promotion and artist support over the last few years.
the specialized rods, and this hands-on approach has been highly effective. We maintain regular engagement through a strong newsletter and text messaging program, which helps drive awareness of new gear and in-store events.” The success WCDS has seen also stems from putting on clinics. By hosting drumming heavyweights — such as Kenny Aronoff, Matt Garstka, Jason McGerr, Jeff Hamilton, Gene Hoglan and Todd Sucherman — the shop has built a reputation as a “cultural hub” for the local drumming community. “Clinics create significant interest in featured gear, leading to noticeable sales increases, especially for artist-endorsed products, specialty cymbals, snare drums and pedals,” Culp said. “Our services, including hourly and monthly practice rooms, along with our lesson program, camps, and classes, ensure a steady flow of musicians into our store.” MI
from China, with mixed results, which is a big concern for us, and I imagine even more so for the manufacturers.” At Portland, Oregon’s Rhythm Traders, store owner Brad Boynton said he sees a clear pat- tern, similar to what Ru- din and Uding have noticed at the supply level: players are modifying the gear they already have to make it their own.
“The Yamaha EAD-10 continues to be a top-seller for us, alongside Meinl’s sticks and mallets, and sound modifi- ers like Snareweights, Pearl Pangi Nut Shakers, and Big Fat Snare Drum acces- sories,” Boynton said. “Most drummers won’t know what possibilities exist un-
34 I MUSIC INC. I AUGUST 2025
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