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Brandon Barnes
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Key Information
Brandon Barnes (born October 10, 1978) is an American musician, best known as the drummer for the punk rock band Rise Against.
Biography
[edit]Barnes received his first drum set when he was nine years old from his grandfather, who was a jazz musician in Chicago. He started drum lessons when he was twelve until he was seventeen, he also joined a jazz band in high school. He studied music in college and played drums in the University of Colorado music program. He knew then he wanted to make music his career. By listening to his favorite drummers such as Elvin Jones, Tony Williams, Terry Bozzio, Peter Erskine, and Dave Lombardo, Barnes developed the style of playing he has used in many bands over the last 10 years.[1]
Barnes is also a strict vegetarian, an animal rights advocate and actively promotes PETA with his band.[2]
Career
[edit]Pinhead Circus (1999)
[edit]Pinhead Circus formed in 1988 with Jimmy Pinhead, guitarist, Trevor, bassist, and Otis as the drummer. In 1997 the band caught their attention of BYO Records and released their first album, Detailed Instructions for the Self Involved, later that year. Barnes joined Pinhead Circus in 1999 after their drummer Otis left. Pinhead then released their second album, Everything Else Is Just a Far Gone Conclusion in 1999 through BYO Records. Soon after, Barnes split the band before joining Rise Against in 2000.[3]
Rise Against (2000–present)
[edit]
After leaving his previous band "Pinhead Circus" Barnes joined Rise Against in 2000 after their drummer, Dan Lumley left and he was then asked to join the band. The band then signed with Fat Wreck Chords in 2001. They then released their debut album The Unraveling and spent the rest of the year touring. The band returned to the studio in December 2002 to work on their second full-length, Revolutions Per Minute in 2003 and toured for 2003's Warped Tour, which gained the band some success. Rise Against then signed to DreamWorks Records in late 2003 to begin the recording of their third record, but Dreamworks was shortly absorbed by the Universal Music Group, and Rise Against found itself with major label Geffen Records. Todd Mohney, the band's guitarist at the time left and was replaced by Chris Chasse and began the recording of the new album Siren Song of the Counter Culture. Siren Song of the Counter Culture was released on August 10, 2004, peaking at number 136 on the Billboard 200 album charts, gaining the band major success with the singles "Give It All, "Swing Life Away", and "Life Less Frightening".
The band re-entered the studio in January 2006, after touring in support of Siren Song of the Counter Culture, Rise Against recorded their fourth studio album at the Blasting Room studio in Fort Collins, Colorado with producers Bill Stevenson and Jason Livermore. The Sufferer & the Witness was released on July 4, 2006, peaking at number 10 on the Billboard 200 and received generally positive reviews from critics and was a commercial success along with their singles "Ready to Fall", "Prayer of the Refugee" and "The Good Left Undone". Rise Against toured in support of The Sufferer & the Witness throughout the second half of 2006 and all of 2007. The band was a headliner in the 2006 Warped Tour as part of The Sufferer & the Witness Tour. In late 2006, the band co-headlined a tour with Thursday that included the bands Circa Survive and Billy Talent. The Sufferer & the Witness has less of the hardcore punk feel from the band's previous album. In 2007 Chasse decided to leave the band and was replaced by longtime friend Zach Blair from Only Crime. During this tour, on July 3, 2007, Rise Against released an EP in Canada titled This Is Noise, which was subsequently released in the United States on January 15, 2008.
Rise Against's fifth studio album Appeal to Reason was released on October 4 in Australia, October 6 across Europe, and October 7 in the United States. The album sold 64,700 copies in its first week and peaked at number 3 on the Billboard 200, making it Rise Against's highest-charting album to date. Appeal to Reason was met with generally positive reviews. Rise Against embarked on a North American tour with bands Rancid, Billy Talent, Killswitch Engage, and Riverboat Gamblers in June and July 2009.
After touring for almost two years Rise Against had begun recording their sixth studio album for a 2011 release, at the Blasting Room in Fort Collins, Colorado. Rise Against has announced two South American shows in Brazil and Argentina and a run of European shows in late February and March 2011 respectively. Endgame was released on March 11, 2011, in the United States peaking at number 2 on the Billboard 200, receiving positive reviews from critics and commercial success in the United States and Canada, along with the band's three previous albums. After touring South America, and Europe, Rise Against will tour the United States in April in support of the Endgame Tour, with Bad Religion, and Four Year Strong in the support of the tour.
Drum equipment
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Discography
[edit]Pinhead Circus
[edit]- Everything Else Is Just a Far Gone Conclusion (1999)
Rise Against
[edit]- The Unraveling (2001)
- Revolutions Per Minute (2003)
- Siren Song of the Counter Culture (2004)
- The Sufferer & the Witness (2006)
- This Is Noise (2007)
- Appeal to Reason (2008)
- Endgame (2011)
- The Black Market (2014)
- Wolves (2017)
- Nowhere Generation (2021)
- Nowhere Generation II (2022)
References
[edit]- ^ "Brandon Barnes Bio" Archived January 13, 2010, at the Wayback Machine Sabian.com. Retrieved on November 25, 2009.
- ^ Wright, James (July 28, 2007). "Interview with Rise Against drummer Brandon Barnes". PureGrainAudio.com. Archived from the original on November 19, 2018. Retrieved May 20, 2016.
- ^ DaRonco, Mike. "Pinhead Circus Biography". AllMusic. Retrieved May 10, 2017.
- ^ Brandon Barnes Drum kit setup Archived March 3, 2016, at the Wayback Machine Tama.com. Retrieved on October 5, 2011.
- ^ Brandon Barnes Cymbals setup Archived January 13, 2010, at the Wayback Machine "Sabian.com". Retrieved on October 5, 2011.
- ^ "ProMark™ Drumsticks | Official Site | d'Addario". www.promark.com. Retrieved October 5, 2011.
External links
[edit]
Media related to Brandon Barnes at Wikimedia Commons
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Brandon Barnes
View on Grokipediafrom Grokipedia
Early life and education
Childhood in Colorado
Brandon Barnes was born on October 10, 1978, in Colorado, where he spent his formative years in the rural communities near Conifer and Morrison.[7] Growing up in a modest household, Barnes experienced financial constraints typical of working-class families, including periods where the family sold appliances like their television and VCR to make ends meet, yet prioritized retaining their stereo system as a primary source of entertainment.[8] His family maintained a strong musical heritage across generations, which profoundly shaped his early interests. Barnes' father worked as a classic rock disc jockey on the graveyard shift request show, fostering an environment rich with rock music; the home featured an extensive record collection including artists such as ZZ Top, Black Sabbath, Jimi Hendrix, and Led Zeppelin.[8] His mother played piano and performed vocals in bands, while his grandparents were active musicians who met through his grandfather's band and operated a coast-to-coast radio program originating from Chicago by the grandfather's late teens.[3] Additionally, Barnes collaborated musically with his brother, a professional musician later associated with the band Toadies, forming early bands together during adolescence.[8] Barnes' initial exposure to drumming stemmed from this familial milieu, where he played along to records featuring '80s rock and classic tracks as a child, emulating drummers like Mitch Mitchell and John Bonham.[3] He began formal drum lessons at age 12, continuing until 17, while also experimenting briefly with piano and guitar lessons before concentrating on percussion.[9] These experiences in Colorado's Front Range area laid the groundwork for his technical development, influenced by the local punk and rock scenes he encountered in his teens.[4]Initial musical influences and training
Brandon Barnes received his first drum set at age nine, initially learning piano under his mother's guidance as a piano teacher before transitioning to drums. His early exposure to music stemmed from a family background rich in performance; his grandparents hosted a coast-to-coast radio show as musicians, and his mother played piano and sang. Barnes began self-taught drumming by playing along to records, including Slayer's Reign in Blood, drawing inspiration from metal drummers such as Mitch Mitchell, John Bonham, Dave Lombardo, and Lars Ulrich, as well as '80s rock and older recordings.[3][6] In Colorado's punk scene, Barnes encountered formative influences from hardcore and punk bands including Black Flag, Minor Threat, Bad Religion, Misfits, and Adolescents, alongside metal acts like Slayer and Metallica. He attended local shows from a young age, witnessing performances by figures such as Bill Stevenson of Descendents and Black Flag, whose records he had listened to since eighth grade. These experiences shaped his affinity for the raw energy of punk rhythms.[3][6] Barnes supplemented self-taught techniques with formal lessons from instructor Charlie Shultz, emphasizing jazz drumming fundamentals, which he practiced daily on a pad to build speed, endurance, and stamina suited to punk's demanding tempos. By his early teens, he was performing in small bars and clubs, honing practical skills through garage-style sessions and local gigs that bridged informal passion with emerging proficiency.[3][6]Formal education and early performances
Brandon Barnes attended the University of Colorado Boulder, where he pursued music studies with an emphasis on percussion and drumming.[3] During his time there, he participated in the university's music program, gaining formal training that emphasized technical proficiency in rhythm and ensemble playing.[1] This academic environment provided Barnes with structured instruction in jazz drumming techniques, including lessons that introduced him to complex improvisational styles and ensemble coordination.[3] Barnes performed regularly with the University of Colorado jazz band, an experience that earned him elective credits and allowed him to apply his studies in live settings.[3] These college ensemble performances, rooted in jazz traditions, honed his ability to maintain precise timing and adaptability within group dynamics, bridging amateur practice to professional readiness.[10] Influenced by jazz drummers such as Elvin Jones during this period, Barnes developed a foundational technique suited for high-energy, collaborative music-making in Colorado's regional scenes prior to his relocation and band commitments.[10]Professional career
Pinhead Circus era (1999)
In 1999, Brandon Barnes joined Pinhead Circus, a punk rock band originally formed in Golden, Colorado, in 1992, as their new drummer following the departure of previous drummer Otis.[11][12] The band, known for its contributions to the local Colorado punk scene, recruited Barnes, a Denver-area musician, to fill the role during a transitional phase.[7] Barnes contributed drums to the band's second full-length album, Everything Else Is Just a Far Gone Conclusion, released on April 20, 1999, via BYO Records.[13][14] The 13-track record, produced by the band alongside Matt Van Luven, featured a lineup including vocalist/guitarist Scooter James, bassist/vocalist Trevor, and Barnes, emphasizing fast-paced punk rhythms and straightforward instrumentation typical of mid-1990s to early 2000s regional acts.[14] This release represented Pinhead Circus's primary output during Barnes' involvement, with limited documentation of extensive tours but evidence of local live performances in the Denver area that highlighted the band's energetic stage presence.[15] Barnes' time with Pinhead Circus proved brief, lasting primarily through the album's production and immediate aftermath, as he exited the group in early 2000 to join Rise Against amid shifting personal and professional opportunities.[16][17] The short tenure nonetheless provided him with formative experience in studio recording, lineup collaboration, and the demands of punk performances, serving as a direct precursor to his longer-term commitments in the genre.[4] The band persisted with replacement members like Dave Fantastik on drums until disbanding around 2002, but Barnes' contributions remained confined to this single-year chapter.[11]Rise Against involvement (2000–present)
Brandon Barnes joined Rise Against in 2000, recruited by bassist Joe Principe through a mutual friend after the band's initial drummer departed and following the release of their debut EP Transistor Revolt.[6] This move solidified the band's rhythm section, with Barnes providing a consistent drumming foundation alongside Principe's bass work amid early lineup flux in guitars and vocals.[6] Barnes has since performed on every Rise Against studio album, contributing to their progression from Chicago's underground punk scene to broader punk rock prominence.[6] Key milestones include the 2003 album Revolutions per Minute, recorded after signing with V2 Records, which expanded their audience through intensified touring, including multiple Vans Warped Tour appearances starting that year.[3] The band's shift to major labels culminated in 2004 with Siren Song of the Counter Culture on Geffen Records, followed by Appeal to Reason in 2008 on DGC/Interscope, albums that amplified their politically charged lyrics on themes like social justice and environmentalism while maintaining punk ethos.[3] Barnes' role emphasized precise, high-energy percussion that supported the band's evolution, adapting to production changes like collaborations with producers Bill Stevenson and Jason Livermore.[18] In recent years, Rise Against sustained activity with extensive touring, including a 2024 North American headlining run featuring deeper album cuts alongside staples, allowing Barnes to showcase varied dynamics in live settings.[6] The band released their tenth studio album Ricochet on August 15, 2025, via Loma Vista Recordings, marking their first full-length in four years with tracks addressing contemporary unrest.[19] As of October 2025, Rise Against continues touring plans into 2026, including festivals like Jera On Air and Rockville, underscoring Barnes' over 25-year tenure amid the band's enduring focus on activist-oriented punk without dilution of core intensity.[20][21]Additional projects and collaborations
Barnes has maintained a primary focus on Rise Against since joining in 2000, resulting in limited documented engagements outside the band's core activities and his earlier stint with Pinhead Circus.[3] Public records and discographies show no major guest drumming appearances, side bands, or production credits for other artists in the punk or hardcore genres post-2000.[22] This dedication is evident in interviews where he emphasizes long-term collaboration with producers like Bill Stevenson and Jason Livermore specifically for Rise Against albums, spanning over two decades without diversion to external projects.[23] Occasional forays into drum education and media include serving as a guest on NPR's "Drum Fill Friday" in November 2014, where he demonstrated techniques and selected fills from punk influences, highlighting his technique without tying to new recordings.[10] Such one-off features align with his endorsement roles but do not extend to formal collaborations or informal side efforts like teaching clinics or track contributions, consistent with a career prioritizing band touring and recording demands.[1]Musical style and contributions
Drumming technique and innovations
Barnes' drumming technique is characterized by high speed, precision, and sustained endurance, particularly in delivering rapid double-time punk rhythms on Rise Against's early albums Siren Song of the Counter Culture (2004) and Revolutions per Minute (2006). He maintains accuracy through consistent rimshot strikes, which produce a punchy tone across genres, from blistering punk tracks to heavier hardcore segments requiring forceful whacks. This approach supports the band's rigorous touring, with Barnes performing 250 to 300 shows per year, bolstered by daily pad practice focusing on high-velocity eighth-notes on the ride cymbal.[3] His style demonstrates dynamic adaptability to Rise Against's melodic hardcore evolution, shifting from frenetic, high-energy propulsion in fast-paced songs to more nuanced accompaniment in pop-leaning tracks. Barnes refines beats collaboratively with producers like Bill Stevenson, tailoring parts—such as those in "Ready to Fall" (2006)—to align with guitar riffs while incorporating variations for rhythmic interest. This calculated versatility ensures crisp execution with minimal excess motion, enabling powerful output during extended live sets.[3][6] Critiques highlight Barnes' vigorous and eclectic energy, with his drumming described as fitting seamlessly into albums like The Sufferer & the Witness (2006) through straightforward power and precision rather than overt complexity. Innovations in his method include prioritizing endurance-building routines at age 46, such as garage sessions emphasizing stamina for early catalog deep cuts, which demand unrelenting tempo maintenance without fatigue. His punchy, rock-solid delivery has been noted for packing substantial impact at the kit, underpinning the band's high-intensity performances.[3][6][10]Influences from punk and hardcore scenes
Barnes has long cited Bill Stevenson, drummer for Descendents and Black Flag, as a formative influence, having first admired his playing in eighth grade and later collaborating with him as producer on multiple Rise Against albums at The Blasting Room in Fort Collins, Colorado.[3] Stevenson's precise, high-speed punk drumming—evident in tracks like Descendents' "Suburban Home" (1982)—shaped Barnes' emphasis on endurance and rhythmic drive, which underpin Rise Against's blend of melodic hardcore and punk aggression.[3] In a 2004 interview, Barnes highlighted additional punk and hardcore inspirations, stating, "I think we have a lot of different influences from hardcore like old Cave In, to a lot of punk like Face to Face, Screeching Weasel, and Down By Law."[24] These acts contributed to his development of tight, fast-paced grooves that prioritize collective band intensity over solos, as seen in Rise Against's early releases like Rpm10 (2003), where tempos often exceed 180 beats per minute to evoke the raw energy of mid-1990s pop-punk and metallic hardcore crossovers.[24] The Chicago punk and hardcore scenes, from which Rise Against emerged in 1999, further molded Barnes' sound through exposure to local acts like Naked Raygun and the Effigies, fostering an approach rooted in straightforward aggression and anti-establishment tempo pushes rather than virtuosic flourishes.[25] This regional influence manifests in Barnes' consistent use of driving eighth-note patterns and breakdowns, directly traceable to Midwest hardcore's emphasis on communal, high-stakes performances that prioritize stamina for extended sets.[3]Role in band dynamics and evolution
Brandon Barnes joined Rise Against in 2000, becoming the band's longest-serving drummer and contributing percussion to every studio album since RPMS10, providing a consistent rhythmic foundation amid the group's stylistic expansions from raw punk aggression to more polished melodic hardcore elements.[6] His partnership with co-founding bassist Joe Principe has anchored the rhythm section, offering stability during periods of lineup adjustments, such as the addition of guitarist Zach Blair in 2007, and supporting vocalist Tim McIlrath's shift toward broader vocal dynamics and thematic maturity in lyrics.[6][3] In creative processes, Barnes influences song arrangements by layering drum patterns onto initial riffs typically originated by McIlrath or Principe, refining tempos and incorporating elements from punk, jazz, and metal to ensure rhythmic variety and propulsion that complements the band's evolving sound.[6] This collaborative input, often credited collectively to the band, has helped adapt tracks during production sessions with figures like Bill Stevenson, where dual-drumming techniques were employed to experiment and solidify grooves.[18] Barnes' enduring presence, spanning over 21 years as noted in a 2022 interview, has fostered continuity in live performances, where his frenetic yet precise style drives the band's high-intensity sets, maintaining fan engagement through demanding tempos in both club venues and arena tours.[18][6] His daily practice regimen sustains this physicality, enabling the band to revisit deep cuts and sustain energy without compromising technical execution.[6]Equipment and endorsements
Drum kit setup
Brandon Barnes typically employs a compact drum kit configuration optimized for the high-energy demands of punk and hardcore performances, featuring a single 22" × 18" bass drum, a 12" × 9" rack tom, and a 16" × 16" floor tom, paired with a 14" snare.[26] This setup, utilizing Tama Starclassic maple shells, provides punchy resonance and sustain suitable for driving rhythms in live settings, as documented during Rise Against's tours around 2020.[26] The minimal tom count facilitates quick setup and teardown on extensive tours, emphasizing mobility without sacrificing the propulsive low-end needed for the band's fast-paced tempos.[3] Over the band's two-decade touring history, Barnes' core configuration has remained relatively consistent, with the Tama Starclassic kit evident as early as 2011, reflecting a preference for reliable, resonant maple shells that withstand rigorous stage use.[3] By 2020, this arrangement continued to support Rise Against's intense live dynamic, where the single bass drum delivers the foundational drive for punk-speed grooves, often relying on pedal technique rather than dual bass drums for acceleration.[26] In February 2024, Barnes aligned with Ludwig as an artist, potentially signaling a shift toward their shells for ongoing tours, though specific sizes and configurations post-endorsement mirror the prior compact form to accommodate the physical demands of prolonged international performances as late as November 2024.[27][28]Hardware, sticks, and heads
Barnes employs Tama hardware, including Iron Cobra bass drum pedals and hi-hat stands, selected for their robustness and stability during high-intensity performances characteristic of Rise Against's punk and hardcore-influenced style.[26][3] This setup provides reliable support for rapid, forceful playing, minimizing slippage or failure under aggressive touring conditions.[26] For drumsticks, Barnes transitioned to Vater models in 2017, favoring the 1A size for its length akin to a 5B grip with an acorn tip, paired with Vater Grip Tape to enhance control and reduce hand fatigue during extended sets.[29] Previously associated with Pro-Mark 5B sticks, this choice emphasizes durability and secure handling suited to the band's fast-paced, endurance-demanding rhythms.[26][29] Drumheads are primarily Evans, valued for their responsiveness and ability to maintain tuning stability amid the high volumes and overtones of punk rock applications, allowing quick adjustments between studio recordings and live amplification.[26][3] Barnes has noted periodic tweaks to head tension for varying tour demands, ensuring versatility without compromising projection or attack in dense mixes.[26]Cymbal choices and signature gear
Brandon Barnes primarily endorses and uses Sabian cymbals, selected for their bright, cutting tones that complement the aggressive, high-energy demands of punk and hardcore music.[30] His setup typically includes a 14-inch Sabian Paragon hi-hat pair for precise, defined stick definition and foot control; 18-inch and 19-inch Virgil Donati Signature Saturation crashes for explosive, trashy accents; and a 22-inch Sabian Paragon ride for clear, projecting bell tones and washy sustain suitable for fast-paced rhythms.[26] These choices, documented in live and studio setups as of 2020, emphasize durability and responsiveness under intense touring conditions, with Paragon models providing a darker, more controlled character compared to brighter alternatives.[26] Earlier configurations, such as in 2011, featured similar Sabian elements like HHX Evolution O-Zone crashes alongside Paragon hi-hats, indicating consistency in brand preference over time.[3] In addition to cymbals, Barnes has a signature endorsement with DrumKeyShop for a custom drum key, designed as a functional tuning tool cast in metal and available in chrome, black chrome, or gold finishes.[31] This item, marketed directly to fans and drummers, reflects his practical approach to gear maintenance during Rise Against's extensive tours, where quick, reliable tuning is essential.[31] The signature key bears his endorsement as the official tool of the band's drummer, distinguishing it from standard models through personalized branding tied to his professional identity.[32]Discography
With Pinhead Circus
Brandon Barnes provided drums for Pinhead Circus's second full-length album, Everything Else Is Just a Far Gone Conclusion, released in 1999.[33] The album, produced by Matt Van Luven and the band, featured Barnes on all tracks following his joining in 1999 after the departure of prior drummer Otis.[33] No additional EPs, singles, or releases credit Barnes during his tenure with the band, which lasted until 2000.[11]With Rise Against
Brandon Barnes joined Rise Against in 2000 as their drummer, replacing Tony Tintari, and has provided percussion for all subsequent studio albums.[34] His first credited appearance came on the band's second full-length release, Revolutions per Minute, issued on April 8, 2003, by Fat Wreck Chords, where he handled drums and backing vocals.[35] The album was produced by Bill Stevenson and Jason Livermore at The Blasting Room in Fort Collins, Colorado, with Barnes' drumming recorded alongside contributions from bandmates Tim McIlrath, Joe Principe, and Todd Mohney.[35] Barnes continued drumming on Siren Song of the Counter Culture, released September 14, 2004, via Geffen Records, marking the band's major-label debut; he is credited for drums across its 14 tracks.[36] This was followed by The Sufferer & the Witness on July 4, 2006, again through Geffen, with Barnes' drum work supporting the album's production by Rick Rubin at various Los Angeles studios.[36] In 2008, he drummed on Appeal to Reason, released October 7 by DGC/Interscope, contributing to sessions recorded primarily at the Warehouse Studios in Vancouver.[36] The 2011 album Endgame, issued March 15 by DGC/Interscope, features Barnes on drums for all tracks, with production handled by Nick Launay at studios including Electric Lady in New York.[34] Barnes also performed drums on The Black Market (July 15, 2014, Republic Records), Wolves (May 19, 2017, Virgin), and Nowhere Generation (June 4, 2021, Loma Vista), the latter crediting him explicitly for drums and percussion amid remote recording during the COVID-19 pandemic.[37] No additional studio albums featuring Barnes' drumming have been released as of 2025.[38]| Album Title | Release Date | Label | Barnes' Credits |
|---|---|---|---|
| Revolutions per Minute | April 8, 2003 | Fat Wreck Chords | Drums, backing vocals[35] |
| Siren Song of the Counter Culture | September 14, 2004 | Geffen Records | Drums[36] |
| The Sufferer & the Witness | July 4, 2006 | Geffen Records | Drums[36] |
| Appeal to Reason | October 7, 2008 | DGC/Interscope | Drums[36] |
| Endgame | March 15, 2011 | DGC/Interscope | Drums[34] |
| The Black Market | July 15, 2014 | Republic Records | Drums |
| Wolves | May 19, 2017 | Virgin Records | Drums |
| Nowhere Generation | June 4, 2021 | Loma Vista Recordings | Drums, percussion[37] |