Drums in and of themselves are not inherently evil; the key is how they are used. However, their improper use can be sinful or even harmful. Additionally, certain specific drum rhythms can induce trance and/or demonic possession. (This is documented in both Let Those Who Have Ears to Hear and Music and Morals.)

Who hasn’t cheered at a Fourth of July celebration when “Stars and Stripes” was played? The drum cadence of ONE, two, ONE, two, inspires the march of LEFT, right, LEFT, right. The accent is on the first beat, the strong beat, of each measure of two counts. Many hymns in 4/4 time have a march-like rhythm. This type of crisp drum rhythm inspires the attention and respect of the listener.

In orchestral settings, the use of the timpani or other percussive instruments add a dimension that can musically exhibit power, majesty, and awe in classical music.

All of the above are examples of wholesome, non-carnal use of drums in music. And in these instances, the drums support and enhance the melody of the music.

Conversely, drums can be used immorally: from soft rock to hard rock in both secular and Christian music. The use of drums (or bass guitar) is the primary tool by which carnality is displayed in the music, and ultimately, through the listener’s body movements as a response to those drums. These types of carnal rhythms also appear in much jazz music.

When rock music was “officially” developed, the strong beats one and three in 4/4 music were dropped, and the weak beats two and three were accented, typically with an additional drum beat to those same weak beats.

This is the classic back beat (rock beat), which is in direct opposition to centuries of the first-beat-strong rule in western civilization music.

The purpose of the back beat was to inspire teens, among other things, to dance in a new, uninhibited manner, with sensually suggestive dance movements. This was rebellion against acceptable moral standards, and they knew it.

Rock star Frank Zappa once commented about the power of certain rhythms in an interview in LIFE magazine: he asked if one kind of beat only causes foot-tapping, which kind of beat provokes aggressive behavior? (Frank Zappa, “The Oracle Has it All Psyched Out,” LIFE, June 28, 1968, p. 91.)

He understood that different rhythms cause us to respond physically in different ways, and we, as Christians, need to acknowledge this fact, too.

The use of drum rhythms can be powerful, and their carnal use in Christian music can contribute to emotional highs (an endorphin rush) in the listener, which are often mistaken for spiritual experiences. This same endorphin “high” can also be achieved at secular concerts, yet no one disputes that those “highs” are not spiritual.

When we depend on carnal Christian music to achieve a “great worship service,” can we honestly say we had a great worship service? If we removed the off-beat, carnal drum rhythms, would we feel the music had fallen short?

Why do we need those back beats in our Christian music at all? Could it be we have become addicted to those rhythms and need them to “feel spiritual?”

I once spoke with a young man who played in a band in his previous church. He told me that the band was instructed to “work up” the congregation so that they would accept anything the preacher said. This is not only a misuse of worship music, it’s unethical.

Trance and hypnotism are also easy to achieve using drum rhythms. Rock musicians have admitted that these altered brain states are very easy to induce, and it only takes about a minute to achieve them. People remain functional and awake and are unaware they’ve been hypnotized. (John Fuller, Are the Kids All Right?)

Using specific drum rhythms to call up demons is another misuse of the drum.

For example:
“In Haitian voodoo, as in Africa, the drum is holy. The drummer is seen merely as the servant of the drum…through his drum he has great influence on the ceremony. Each loa [demon] prefers a fundamentally different rhythm, and the drummer knows them all and all their variations. He can often invoke possession by what he plays…” (Michael Ventura, Shadow Dancing in the USA, p. 115.)

This is just one example; similar demonic possession has taken place at Caribbean Revivalist religious ceremonies, which combine voodoo beliefs with elements of Christianity. Demonic possession is a common occurrence. (Mark Kurlansky, “Voodoo Heart,” Travel Holiday magazine, November 1996, pp. 70-74.)

Whether or not we want to admit it, these two elements are tied together: rock rhythms and rhythms used to call up demons.

West African drummer, Babatunde Olatunji, relates:

“I never became a master drummer in the old sense of knowing all the village rhythms, because when I was twenty-three–in 1950–I won a scholarship to college in Atlanta….when I got to college and first turned on the radio and heard [secular lyrics] I was so stunned. I remember thinking, he that’s African music; it sounds like what’s at home. And the same thing happened when I heard gospel music. So I joined the campus jazz combo.” (Mickey Hart, Drumming at the Edge of Magic, p. 215.)

While I am not suggesting that all rock or jazz music calls up evil spirits, I am questioning the practice of Christians using drum rhythms that can be traced directly to those used in pagan worship.

The influence of the voodoo religion and its drum rhythms in rock music is well known among secular rock musicians, and they openly recognize the relationship between specific rhythms and demonic activity; they purposely study these rhythms. (Tim Fisher, Harmony at Home, pp. 94-97; Jeff Godwin, Rock and Roll Voodoo, audio cassette, circa 1992.)

Aside from obvious carnal rhythms appealing to our flesh in a sensual manner, could the possibility of potentially (unknowingly) calling up demonic spirits with specific drum rhythms be another reason why we are instructed to sing “spiritual (non-carnal) songs”?

Should we mix known and admittedly pagan rhythms with Christian lyrics, no matter how we think those carnal rhythms are, or are not, affecting us?

Just because Christian lyrics are put to proven carnal music styles doesn’t change the music’s effect on the brain or behavior. It causes people to respond with uninhibited, sensually suggestive movements and other unchristian-like conduct, whether or not they admit it, and whether or not they are aware of it.

Furthermore, Ephesians 5:11 tells us that we should “have no fellowship with the unfruitful works of darkness, but rather reprove them.” (NKJV)

Satan is a very clever, and will use any tool, lie, or device to attempt to deceive and divide Christians, and rob God of His glory. Worldly, carnal music techniques in Christian music are some of those tools.

SOLUTION: While drums are not at all necessary to enhance worship music, it’s possible to still include them if we do so wisely and sensitively.

Instead of playing the drums in a carnal, rock-style fashion, simply shift the accents to support the melody (beats one and three in 4/4 time) and use some form of rudimental military-style march cadence. Hymns such as “Onward, Christian Soldier,” or “We’re Marching to Zion,” take on a more purposeful meaning as we press on in our Christian walk.

While being mindful of the overall message of a hymn, military-style drum cadences can be added to many (not all) hymns written in 4/4 time. (Just don’t over-do it, keep it at a low to moderate volume, and make sure the melody is priority.)

Contemporary songs can also make use of this wholesome, moral style of drumming; however, we should realize that: 1. not every piece of music needs drums; 2. songs written in 3/4 (waltz) time do not need drums at all; 3. drums should not be the main thing we hear or feel–they should be subordinate to the melody.

Using drums in this careful, wholesome way meets the criteria to sing “spiritual songs,” because they are not contributing to carnality in music; they do not cause listeners to move in sensually suggestive ways.

The congregation has been encouraged both spiritually and morally; the music has been presented wholesomely. And most importantly, God is honored in our worship.

[For further information about drums, see the chapter “The Power of Rhythm” in the book Music and Morals for an in-depth discussion, and the chapter “What We Believe is Our Truth,” questions 42 and 43, in the book Let Those Who Have Ears to Hear.]