Drumathon is a four-hour, non-stop African drumming challenge I’m taking on as both a personal endurance test and a community fundraising event. Playing continuously for that length of time is physically demanding and mentally focused — and that challenge is very much the point.

This project is rooted in my own journey. In my twenties, I struggled with drug and alcohol addiction, and African drumming became one of the things that helped me find structure, focus, and a way forward, alongside the support of other people. That’s why Drumathon is raising funds for Project 6, whose work supports people facing those same challenges today.

Drumathon isn’t just about endurance — it’s about rhythm, support, and bringing people together around something positive.

The short video below explains where the idea for Drumathon came from and what the challenge will involve.

Why Drumathon Matters to Me

African drumming has been part of my life for over three decades, but its role has gone far beyond music. During a difficult period in my twenties, when I was struggling with drug and alcohol addiction, rhythm became one of the things that helped me rebuild structure, focus, and a sense of direction — alongside the vital support of other people. I’m now 26 years clean and sober, and that journey continues to shape how and why I work with rhythm today.

Drumathon grows directly out of that experience. African drumming, with its grounding pulse, shared rhythms, and physicality, taught me the value of staying present and connected through challenge rather than stepping away from it. That’s why this project feels so closely aligned with Project 6, whose work centres on support, connection, and practical help for people affected by drug and alcohol addiction — the same combination of things that made a difference in my own life.

At its heart, Drumathon is about recognising that people don’t get through difficult periods on their own — and that rhythm, community, and encouragement can play a powerful role in that process.

A Shared Rhythm: How Drumathon Works on the Day

Drumathon will take place on:

Saturday 28th February 26 13:00-17:00 at

Sharrow Community Forum, The Old Junior School, South View Rd, Sharrow, Sheffield S7 1DB.

While I’ll be taking on the challenge of four hours of continuous African drumming, the event itself is designed as a community drum circle. People are warmly invited to come and join the drumming, play accompaniment rhythms alongside me, and help carry the energy of the four-hour journey.

Throughout the event, we’ll be supporting participants with simple, accessible African rhythms, and everyone is welcome to play for as long or as little as they like. Some people may dip in briefly, others may stay longer — all of it contributes to the shared experience. Drumathon is about collective rhythm, encouragement, and togetherness, using African drumming as a way to bring people together while raising funds for Project 6.

How You Can Support Drumathon

There are a few simple ways you can support Drumathon and help make the event a success.

If you’d like to sponsor the challenge, you can make a donation via the JustGiving page. All funds raised will go to Project 6, supporting their work with people affected by drug and alcohol addiction.

You’re also very welcome to come along on the day, join the drumming for as long or as little as you like, and be part of the shared rhythm and atmosphere. Every person who plays, listens, or brings encouragement helps carry the energy of the four-hour journey.

And finally, sharing Drumathon — with friends, family, colleagues, or on social media — makes a real difference. The more people who know about it, the more support we can generate for the charity and the wider community.

Thank you for being part of it.

The Soli Pathway – Weeks 1–9

This first series focuses entirely on the Soli Pathway: a grounded, flowing version of the 12/8 feel that influences how phrases land, how the groove moves, and how your hands begin to relax into the music.
A second series will follow later, exploring the other 12/8 pathway.

These videos build one step at a time.
Each week adds a new layer.
Each groove prepares your hands, ears and instincts for what comes next.

This blog brings together Weeks 1–9 of the Soli Pathway in one place so you can follow the series from start to finish.
(Week 10 — The Big One — has its own dedicated blog coming next.)

So grab a drum (or a table!) and enjoy the journey.

WEEK 1 — Two Paths, Two Feelings

This first lesson sets the whole pathway in motion.
We explore the two different “roads” inside the 12/8 feel — something that’s easy to overlook but completely changes how a rhythm sits in the body.
It’s a gentle start, but it gives you the foundation you’ll use in every video that follows.

→ When you’ve explored these two feelings, you’re ready for the next step.

WEEK 2 — ‘Kanki Ta’ – Essential Groove & Hidden Feel

“Kanki Ta” is one of the simplest ways into the ternary world, but it already carries the character of the Soli Pathway. In this lesson, I explore how the short–medium–long swing shapes the rhythm, and how that internal shift changes its feel.

Beginners can focus on coordination; more experienced players can listen for the subtle movements inside the groove.

WEEK 3 — Feel the Pinch (‘Katikita’ Breakdown)

Here we explore Katikita — a groove with a beautifully “pinched” inner feel created by accents and timing.
This lesson shows how small shifts can give the rhythm shape and character, especially within the Soli Pathway where subtlety matters.

It’s not about adding notes; it’s about adding life.

WEEK 4 — Three Flowing Grooves from Kala

In this video we explore Kala — a joyful rhythm from the Soli family. The lesson looks at three accompaniment patterns that share the distinctive before-the-beat feeling often found in Soli-style grooves.

It’s a flowing set of patterns that helps bridge the earlier material with the more challenging ideas still to come.

WEEK 5 — Garangedon

Garangedon is a traditional rhythm associated with the shoemakers’ caste in Mali, and the version here comes through Mamady Keïta, who brought it into the wider djembe repertoire from Guinea.

What makes it so compelling is the way it captures the Soli Rapide feel — that slight lean before the pulse, creating the suspended, rolling swing that defines so much of this pathway.

In the video we break down the key accompaniment phrase and look at how this subtle shift gives the rhythm its characteristic energy and flow.

WEEK 6 — Joining Up the Djembe Dots

This video picks up directly from Garangedon, exploring a small variation on that groove and tracing how the same before-the-pulse accent appears across other djembe and dundun patterns.

It’s a useful rhythmic touchpoint that shows how the Soli pathway connects so many grooves in the 12/8 family. The aim here is to join up the djembe dots — to hear how this shared feeling flows through melody, rhythm and pulse.

WEEK 7 — Setting the Groove Free

This video takes the Garangedon-inspired ideas from the previous section and begins to loosen them. Up to now we’ve joined the dots between variations; here the focus shifts to avoiding getting stuck in any one version.

Once the classic accent-before-the-beat feeling is in your hands, you can start adding phrases, changing sounds and introducing small spontaneous shifts that move the rhythm toward solo phrasing.

It’s about keeping the same pulse but opening space for expression and play — letting the pattern feel alive rather than fixed.

WEEK 8 — Bass, Flow & Freedom

This video continues directly from the previous section, but now the focus shifts to how bass placement can deepen and open up the groove. Subtle changes in where the bass lands begin to transform the accent-before-pulse feel we explored earlier, creating new levels of flow and freedom.

We’re still inside the 12/8 pocket, but this session takes things further — offering more ways to connect your phrases, ride the groove and begin to improvise with confidence.

WEEK 9 — Liberté Doubles

This video uses the rhythm Liberte as a bridge toward the more complex Soli-style accompaniment that follows. Although not a Soli rhythm, it offers a clear framework for developing the in-between doubles — the quick hand-to-hand notes that sit between the main pulse.

These doubles appear often in Soli-style grooves, so this session focuses on the timing and feel that make that movement easier to control.

What Comes Next? Week 10 — The Big One

Weeks 1–9 form a complete introduction to the Soli Pathway — one side of the 12/8 world.
Week 10 is where everything comes together.

It’s the longest, most detailed lesson in the series and the one that has resonated most with viewers so far. Because of its importance, it has its own dedicated blog post, which will be live shortly.

If you’ve made it this far, you’re more than ready for the final step — keep an eye out, Week 10 is on its way.

Sharing the journey

I’m always exploring new ways to develop solo phrasing and technique — and this roll has been a really enjoyable challenge. Sharing these ideas through video is part of how I keep the learning alive and offer something that others might find useful or inspiring in their own playing.

If you’d like to support the channel and help keep the rhythm flowing, you can buy me a coffee here:
https://buymeacoffee.com/unbeatableenergy

Thanks for reading — and happy drumming!

-Steve Rivers

Exploring Kaloo – Djembe, Dunduns & Multitasking

In this new video, I walk through Kaloo’s djembe and dundun parts, slowly unpacking the structure and phrasing. After demonstrating the dunduns, I have a go at one of my favourite challenges: playing and singing at the same time – a playful way to internalise the arrangement and help others feel how the layers fit together.

If you’ve played Kaloo before, I’d love to hear how and where you learnt it. And if it’s new to you, I hope this helps bring you closer to Mamady’s rich and vibrant musical world.

Sharing the journey

I’m always exploring new ways to develop solo phrasing and technique — and this roll has been a really enjoyable challenge. Sharing these ideas through video is part of how I keep the learning alive and offer something that others might find useful or inspiring in their own playing.

 If you’d like to support the channel and help keep the rhythm flowing, you can buy me a coffee here:
https://buymeacoffee.com/unbeatableenergy

Thanks for reading — and happy drumming!

-Steve Rivers

In my latest video, I demonstrate the flam technique on djembe and how you can use it to develop more fluidity and expression in your playing. If you’ve ever wanted to add more variation and dynamic feel to your drumming, this is a great technique to explore!

A flam is typically described as two quick, slightly offset strikes—one as a grace note, followed by a main note. However, on the djembe, the relationship between the two notes is much more fluid.

Unlike snare drum flams, where the grace note is significantly softer, the two notes in a djembe flam can be closer in volume and timing, creating a subtle “double attack” effect. There are many nuances in how wide apart the two notes are, ranging from a very tight, almost simultaneous hit to a more open flam with a pronounced separation.

These subtleties are rarely explored in snare drumming, making the djembe flam a unique and expressive tool in traditional and contemporary rhythms.

In this video, I present a finished example of the flam technique on djembe and discuss its practical applications. Whether you’re new to flams or refining your approach, this tutorial will give you a clear way to experiment and develop your own variations.

  Adds texture and dynamics to your playing
  Helps develop coordination and control
  Essential for soloing and improvisation
  Creates subtle rhythmic variations within traditional djembe patterns

I’m planning more in-depth breakdowns of djembe rolls and flam applications within rhythms—so if you find this video useful, let me know in the comments!

Have you tried incorporating flams into your djembe playing? Drop a comment on YouTube—I’d love to hear your experiences!

This approach isn’t something new—it’s a well-established phrasing technique in djembe drumming—but it’s one that can really help you develop control, groove, and movement in your solos.

In this new video, I break the concept down step by step:

Starting with bass and tone placements to feel the phrasing.
Moving to tones and slaps for sharper articulation.
Building a short solo sequence to practice and develop fluency.

This lesson is aimed at intermediate players and improvers—those who are already comfortable with slaps and tones but want to refine their solo phrasing.

If you’ve worked with phrasing in threes before, this might be a good chance to solidify the technique and experiment with new variations. And if this is a fresh concept for you, it’s a great way to add a sense of motion and groove to your solos!

I’d love to hear your thoughts—do you already use this phrasing approach? How do you incorporate accents into your solos? Feel free to leave a comment on the video or get in touch with me.